Les Demoiselles d'Avignon and Full Fathom Five
The MOMA lived up to its name immediately as its exterior reflected the modern architecture of New York City. This was a sharp contrast to the Metropolitan Museum of Art as that building emanated an archaic feel with its stone structure. The modern feel of the museum was amplified as I explored the inside. The shiny marble floor surfaces, floor light panels, glass walls and dividers, and the bright white walls set the tone of the modernity of the museum that separated it from the more classical ambiance.
Strangely, the MOMA seemed to be too modern for its surroundings. Whereas New York City’s modern areas have a more metallic feel to them with the steel skyscrapers covered in glass windows, the MOMA’s bright white backdrop reflects a futuristic movie setting where everything is made out of a super-durable artificial polymer.This futuristic scenery actually clashed with the art on view as the two seemed to be from different time periods.
At first impression the Jackson Pollock painting titled Full Fathom Five as well as Picasso’s seemed to be a hodgepodge of reoccurring images. In Full Fathom Five there is a clutter of drips and drops and drags of color. Les Demoiselles d'Avignon, is not exactly cluttered, but initially seems to represent the same idea of an emotionless prostitute. The point at which I began to see a substantive theme in the two works of art was when I was reminded of the image of New York City presented E.B. White in his essay “Here is New York”. E.B. White describes New York to be a place of constant excitement and interesting events that one can choose to either fully partake in or ignore completely. E.B. white used one example of a measurement of eighteen inches between himself and a great celebrity who he and others totally ignored as opposed to interacted with. This same concept is seen in the clutter of Full Fathom Five. Though there seems to be... [continues]
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