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Museum Of Contemporary Act Essay

1381 words - 6 pages

In my first ever visit to the MOCA Museum of Contemporary Art, was an interesting one. My summer job this past summer was working on Case Western Reserve Campus of 115th and Euclid. Every day I would take the RTA Healthline to work and sometime would dine at the restaurants around the MOCA museum. So every day I would walk pass the museum and not knowing what that unique building was. I went online to search for the museum address and when I saw the Google street view of the building, I was surprised to discover what that magnificent looking building truly was. Entering the museum for the first time was mesmerizing. The MOCA museum’s website states that “The nearly 34,000-square-foot structure, which is 44 percent larger than MOCA’s former rented space, demonstrates that a museum expansion need not be large in scale to be ambitious in all respects. Devised for both environmental and fiscal sustainability, the design is at once technically inventive, visually stunning and highly practical. The dynamic structure was designed by Iranian-born Farshid Moussavi of London”. The museum stands beautiful from the inside and the staircases give the impression of a maze. I then entered the Lewis gallery to find a work to use in the discussion of my essay. I walked around the entire exhibit searching for a work of art that to me was visually appealing and had a thought-provoking emotional or spiritual purpose. This essay will discuss my first experience to MOCA and the vibe of the gallery when in the presence of a photograph.
On display in the Lewis gallery was DIRGE – an exhibition of 23 national and international artists reacting to and reflecting on death and mortality, both their own and their loved ones. Different artist on display were Hannah Wilke's The Intra-Venus Tapes which were discussed in class. Guido van der Werve Nummer acht, everything is going to be alright, 2007 and Steve Lambert You Are Still Alive, 2009. The gallery had a chill impression of it as soon as began walking about the exhibit. Guido van der Werve Nummer acht, everything is going to be alright had a huge impact on the exhibit the audio from the video was overwhelming throughout most of the gallery. On my second walk around I notice again two large framed photographs leaning up against the wall on the floor. The artwork was Sophie Calle, Paris France, Les Tombes #17 [The Graves], Mother, Father, 1978 printed 1990.
The two outsized, black and white photographs of graves, with a headstone on each one with a mother and father written on them are by Sophie Calle. The tombstones appear to be sinking into the small dark and light stones covering the ground. It does feel as if the dead is pulling them deeper into the ground. The photographs are assembled the floor, resting against the gallery wall. The placement of the two photographs brings the graves to the viewer’s eye-level and spacious. It gives the presence of standing over a real grave not want to overstep with your feet. It...

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