When we first came here
We were cold and we were clear
With no colors on our skin
‘Til you let the spectrum in
Say my name and every color illuminates,
We are shining,
And we’ll never be afraid again.
- Florence + the Machine, “Spectrum”
My office is 15 minutes away from the Art Institute of Chicago and a Roy Lichtenstein exhibit just opened there this week, so I went over to check it out last night after work. I go to the Art Institute several times a year, and I’ve discovered that my favorite way to do it is to go alone, put in my earbuds, and listen to great music while looking at great art…it’s usually fairly quiet there, but pumping music into my ears puts me in kind of a cocoon that blocks out everything – my head’s full of music and my eyes are full of art and it’s like the rest of the world fades away. So that’s what I did last night. I’ve been enduring astounding amounts of jackassery this week and have been frustrated and upset; I could feel it building to dangerous levels yesterday and all I wanted was to switch heads with someone for a little while and get a vacation from myself. In the absence of that possibility, I thought maybe this little field trip would help, and did it ever.
The Lichtenstein exhibit is pretty big, with a room for each phase in his artistic development, from his early experimental work through the things he did at the very end of his life. I accidentally entered through the exit and walked through the exhibit in reverse, so when I got to the beginning, I turned around and went through again in chronological order. They have a small room devoted solely to the sketches that he did to plan out and practice some of his larger pieces – they have actual pages that were torn out of his sketchbooks, with the little paper nubbins on the edges from the spiral binding. I think that might’ve been my favorite part…there’s a feeling of intimacy when looking at those things, the stuff he probably never intended anyone to see or care about. Most of the sketches are done in colored pencil, while his finished pieces almost assault your eyes with their sharp lines and vivid primary colors; the sketches are mostly small, while most of his finished pieces are big…it’s like the sketches are quiet little warm-ups in preparation for the big loud public performance. They’re wonderful.
Afterward, I did a quick tour of my favorite pieces, starting with American Gothic (seriously, how cool is it that I can go see the actual American Gothic whenever I want?) and a handful of Impressionist paintings and the Chagall windows, then out to the Modern Wing, which is currently my favorite part of the museum. I went up to the second level to say hi to Andy Warhol’s giant Mao and my favorite painting in the whole place, Jackson Pollack’s Greyed Rainbow. The Modern Wing is wonderful for many reasons, but what I like best is the way the collection pushes you to think about what art really is – what’s art and what’s not? Who decides, and how? There’s a room there that is empty except for four film projectors showing a 42-minute movie on each wall – it’s Bruce Nauman’s Art Make-up, which shows the artist covering his face and torso in layers and layers of stage makeup. That’s all…just 42 minutes of that, with no sound but the puttering of the projectors. I stood by myself in that room and it was like I fell into a time-warp, because suddenly I blinked and realized I’d been standing there through almost half a Decemberists album, head cocked to one side, completely tranced-out watching this guy cover himself in makeup. It’s the look in his eyes, I think, that hypnotized me…it’s hard to tell but I think there was a mirror off-camera that he was looking into, staring into his own face – his gaze is so steady that I think that must be it. There’s an intensity in his eyes that I couldn’t stop staring at, dying to know what was in his head. That’s art, for me…it can’t only be about what the artist was trying to say, because that implies that there’s a definitive answer and it makes art feel one-sided to me. It’s about what the piece makes me feel, or think, or start wondering about – that’s interaction, and I think that good art is interactive. I wandered around that wing for a long time, stopping briefly at certain things but mostly just walking, and I thought about how many of these artists are dead now and how museums can feel so much like mausoleums, full of these artists’ monuments to their own lives, walls splashed with their passion and pain and fear and exuberance for people like me to stare at and dance with on the inside, and I wondered if any of these people knew they were going to live forever like this, or if their work was just them bleeding themselves out into the world and asking, “Do you feel this too?” And the hot, smoldering knot that had been throbbing in my chest for days started to feel cooler and not so heavy anymore…life hurts sometimes, but god, just look at what people have done with that truth – look at what they’ve made, look at how they’ve immortalized not just themselves but all of us in what they’ve done, whether their work is a soft abstract sigh or a rending howl. It’s all so much bigger than me and whatever or whoever is bothering me right now, and even in its overwhelming bigness it still manages to feel like it’s looking directly at me and saying, “I know. And you know too. We know together.”
I walked back out onto Michigan Avenue feeling calm inside, smooth and cool like still water.







