exhibition review of my choice: Blocks of Color, Zimmerli

Blocks of Color: American Woodcuts from the 1890's to the Present.

-Again found the title wall very provocative. Had very evoking type size, that as I'm reading it I felt engaged with the title wall text. I did not however enjoy how the gallery workers seemed to hound me, even at Chelsea where works are for sale, the gallery attendants did not bother me. At times it felt I had more than one shadow.
-I fell in love with the texture the wood grain gives the work. I was captured by these woodcuts much more than I ever have been with other works such as paintings. This captivation could be due to the fact that I was the only one in the gallery at that time. It was quiet so I had time to reflect. The quietness brings to life the fact that someone somewhere cut these images and works out of wood. In paralleling this show, I for the first time started working with woodcuts and relief making. So working hands on with this style of art for sure is helping to engage me in the work.
-I found the piece titled "Hokusai" by Leonard Maurer to be the most insteresting woodcut. The color and feel of the print really stuck out to me. The print having text on top of the image I found amazing. I love the description the text describes, it has a playful yet cynical tone. All the while possessing a very serious attitude. Loved the way Maurer choose to carve out his text, by allowing some of the wood grain to show through.
-In the section of works inspired from Japan by American artists, I notice something in the way the frames were hung. What I noticed did not appeal to me at all and looked sloppy with such elegant and well crafted works being held inside the frame. Each frame was hung on the wall by hangers, yet instead of the hangers being at the top or on the back of the frame, the work was hung from the sides of the frame. It seems to be a very simple thing yet something I found very displeasing with the work. It would seem very easy to hide any type of frame hangers used either at the top of the work, putting it out of the viewers eyes sight, or directly on the back again hiding the hangers from the viewer.