We stayed at Duane’s place near Prospect Park for two nights and divided the bulk of our waking hours between two big box museums, the Whitney and MoMA. Outside the museums we walked seven miles or so each day with Duane (in his orange hat) as our guide. We walked the length of the High Line after the Whitney and all the way downtown after MoMA. We found “restaurants nearby” with Apple’s map and ate Mexican and Indian. My brother, Mark, came in from New Jersey and met us at the Picasso show.
I had a crazy nightmare the first night and woke Peggi with my cry for help. Sea lions, like the ones we saw in Maine when we rented a boat, were climbing onto the bed (Duane’s coach) and one of them had three long claws wrapped around my wrist. The second night there was a fire at 1:30 in the morning at the 24 hour car wash on the next block. Peggi woke up to the sirens and the flashing lights. I was aware of the disturbance and had a restless night’s sleep.
Ed Ruscha is mostly fun. Once a commercial artist, he found a way into fine art by doing uncommercial projects. Playing art director he gave himself wacky projects like photographing every building on Sunset Boulevard. Also, he was from California, an outsider to New York cool school. His paintings look like comps for ads.
Ruscha revisited his Course of Empire, a ten-painting installation originally created for the 2005 Venice Biennale, repainting the buildings a decade later with signs of dubious progress (international logos, barb wire). I saw them all at the old Whitney a decade ago. MoMA had three of the pairs in their “Ruscha: Now Then” roundup. They were my favorites.
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