Even in his most representational works, like a wonderfully detailed View Through the Window of his spacious house in Amsterdam, Segers introduced fanciful elements—a line of trees in the distance, for example, when the actual view consisted of houses and other buildings. He let accidents dictate content. Cutting up a printing-plate he had used for a large ship, he turned the fragments into landscapes instead, with the rigging and mast morphing into tree branches. In a fascinating related development, the steps of which are documented in the exhibition, Rembrandt took a plate that Segers had etched of the biblical subject of Tobias dragging a big fish, made some adjustments, and transformed it into Joseph leading a donkey, with Mary aboard, on the Flight to Egypt. But whether Rembrandt was inspired by Segers’s own experiments with recycled images or thought he could improve on Segers’s figures, is unknown.
“We want literature to take over the streets and conquer public spaces, freely offering those passersby a traffic-free place which, for some hours, will succumb to the humble power of the written word.”
They laid down this artistic installation on one of the city’s busiest streets.
“Thus, a city area which is typically reserved for speed, pollution and noise, will become, for one night, a place for quietness, calm and coexistance illuminated by the vague, soft light coming out of the lighted pages.”
During the exhibit, people walked on the books, took pictures of themselves on the books, and took most of the books home with them. I don’t know whether Toronto’s traffic congestion has changed since receiving this smite from the humble word.
The Dali Museum has developed a virtual reality presentation of Dali’s Archeological Reminiscence of Millet’s “Angelus” for visitors to explore like a game, taking surrealism to a new technological level. They have also included “some of the recurring motifs from his other paintings in the museum’s permanent collection, including Weaning of Furniture Nutrition (1934), Lobster Telephone (1936) and First Cylindric Chromo-Hologram Portrait of Alice Cooper’s Brain (1973).”
This talk by Matthew Milliner, assistant professor of art history at Wheaton College, is a bit heady, but there are some wonderful gems in here, if you have an interest in contemporary art. His expository of Marc Chagall and his White Crucifixion is particularly relevant.