The amount of people who happen upon this blog because they’re performing an image search for Garfield the Cat is mindblowing. My mind lands across the room every time I see new evidence of this trend. It goes flying.
He’s a lovable rascal, that Garfield. There’s no blame here.
***
I finally visited the Art Institute’s Modern Wing last Thursday with Kimbo.

Because it was free, we stood in a long-but-swiftly-moving line to get inside. And once we were inside, Kimbo was asked to check her backpack. And then she had to drain the contents of her water bottle, because she was not permitted to check her bag with a water bottle inside, containing water, which–as we all know–contains dangerous, flesh-eating properties, which would compromise the safety of the Art Institute’s coat check employees; water which would spontaneously re-arrange its molecular structure to become an enormous Water Monsterperson, breaching the boundaries of Kimbo’s backpack and surging through the museum lobby on a Flesh-Eating Mission aaaaaaaaaaaaaieeeee!
But I digress.
Once we made it to the Wing, it was lovely. I did get lambasted by a security guard for allowing my hand to gently touch the wall in the Contemporary exhibit. I just wanted to see what it felt like.
SECURITY GUARD: Don’t touch the art!
I wish I could get lambasted for some real misdemeanor in an art exhibit. If they’re going to raise their voice to me from across the room, as though I’ve literally just LICKED A PAINTING, why not really give them something to cry about?
SECURITY GUARD: Are those goldfish?
Now we’re talking.
***
Herewith: What I liked, and what I didn’t like, in the Modern Wing. Obviously, visual art is a wildly subjective medium blahblahblahblaaaaaah, and what floats my boat mayn’t float yours. Also, I should just say that modern art–specifically, “contemporary” art–usually feels incredibly insincere to me. I get all worked-uppy and irritated and hackled, looking at it. I wrote a song, while I was wandering the Modern Wing, and these are the words:
I’m self-indulgent, and I have my work in the Modern Wiiiiiiing
Finally, while I concede that Everything In All the World is Technically Art, I will not concede that chairs are art. Exhibits of chairs have stuck in my art-craw for years. It’s a chair. You sit in it.

Ugh.
Go ahead. Call me a Neanderthal.
YOU: Isn’t it “Philistine”?
***
WHAT I LIKED IN THE MODERN WING
1. Cy Twombly exhibit

It’s up right now, until mid-September. Sehr gut.
2. Anything Max Ernst
Especially “Spanish Physician”, and wouldn’t you know it? This is the sole example of that painting on the entire Internet:

Seriously, if it were bigger, I bet you’d totally like it.
3. The building is very pretty and spacious, as buildings go.
4. The Architecture and Design rooms, sans the aforementioned chairs
The delight of this exhibit was in the wee drawings; the architect sitting somewhere at some point with a piece of paper, scrawling scribbles and lines that are bound for buildinghood one day. Framed. Love.
WHAT I DIDN’T LIKE AT THE MODERN WING
1. Cary Leibowitz’s “Photo Booth Fortune”
We’re talking about the Modern Wing. The Modern Wing of the Art Institute of Chicago, one of the most prestigious art museums in the world.
We’re talking about a series of photo booth pictures with fortune cookie fortunes affixed to them.
Am I missing something here? I’m missing something, obviously. Because this piece looked like dreck to me; but who am I to say? I’m just an untutored plebe, is what I am. I’ll just pardon myself right out of here and go look at A PICASSO.
2. Almost anything in the contemporary rooms
Or: The part of my brain that appreciates wall-mounted squares of orange glass is inoperable. And it’s not because I think Art Is An Oil Painting, full stop. It’s because those rooms felt aggressively uninteresting, uninspired, and unconnected to the viewer. Many a museum-goer, no doubt, has wandered past “Photo Booth Fortune”, and found themselves transfixed. I just didn’t receive the impression that the artist cared about the moment in which the audience–the viewer, the listener, the reader–closes the circuit that the artist starts when they make their art; the circuit that’s only complete when another human being participates in what the artist creates; when they look, when they listen, when they read; when they trust your intentions, and your intention should be to come to them honestly and with real meaning. Without that moment, you’ve got nothing. Lean your art up against a wall in the garage: No one needs to see it but you. Why do you care if we take a look? You’ve made it clear that you don’t need us; or worse, that you need us to react with confusion or disgust or ennui. We’re not supposed to work so hard to understand what you mean, and that goes for oil painters and poets alike. I’m not picking up what you’re putting down. And you’re putting down bells and whistles.
La la la la la la!
So Kimbo and I got some coffee and tea, right? They have a little counter, with beverages and suchlike; it’s not fine dining. It’s a pit stop, with artsy trash cans. There was a guy our age behind with us, with his lady. Kimbo heard him say:
GUY: How long ago did you brew this coffee? Can I taste it?
I bet that guy totally loved the chair exhibit.
Those chair designers are standing right behind me, aren’t they?
Blue Mountain Lake
I sense the trees’ light filtering the room–
knowing nothing about the tulip tree
canoe flipped so its stomach slopes up,
scuffed by quartz tumbled in the shallow drag.
I’ve walked here in the wetness holding rain,
endangered lady slippers dipping petal shoes,
dashes of pink in mud–and you’re not here.
In my dream you write IBIS above
BREAD and RUM–block letter, the R tail
ripped quick, down, as if something shoved your pencil.
There’s a sense of inversion–the tumblehome’s
inward curve of canoe above the water
faces the floor now, would be sloshing in wetness,
inversion in the wood blurring white
sky and itself in the lake. I knew you.
On shelves, round grass or twig baskets
fill with nothing. Tiger lilies are dying.
I’ve heard the dark rustle along your house,
my fingers glowing around a flashlight and touching
blackness, leaves, lumps of chewed blueberries.
Tyler Caroline Mills





















