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Terence Koh’s Untitled, a stack of thirty-three glass cases, is a striking presence in the Contemporary galleries.  Almost every case contains an artifact that’s been painted white. Some of these date back to the artist’s childhood while others are from friends and lovers, or flea markets. The sculpture is like a shrine that preserves meaningful relics from various chapters of Koh’s life. Unlike many artists, he embraces the effects of entropy and decay on his work, such as mold, or glass shattered in transit.

Terence Koh (born China, 1977). Untitled (Vitrines), 2006. Mixed media, variable. Brooklyn Museum, Gift of Peres Projects, Inc., 2008.34.

The piece is part of a larger body of monochrome work in which Koh explores the meanings of white in different cultures, ranging from purity to mourning. With its investigation of temporality and allusions to eventual death, the Brooklyn Museum’s glass stack provides an introspective counterpoint to Koh’s flamboyant public persona. (See his website) Sex and death are themes that run obsessively throughout all aspects of his work.

As part of Performa 09, Koh will be at the Brooklyn Museum on November 7^th for Target First Saturday to perform Saaqiou. At 9:30 p.m., he will be performing and DJing in the Rubin Pavillion, incorporating the Rodin sculptures.

Seher Shah recently stopped by the Brooklyn Museum to see her large drawing Jihad Pop Progressions 5 – Interior Courtyard 2, 2007 on view in the fourth floor Contemporary galleries.

Seher Shah (Pakistani, b. 1975). Interior Courtyard 2, 2007. Graphite pencil on white, medium weight, wove paper, 80 x 120 in. (203.2 x 304.8 cm). Brooklyn Museum, Purchase gift of Dr. Margaret Hammerschlag and gift of Donald T. Johnson, by exchange, 2008.4. © Seher Shah. Photograph courtesy of Bose Pacia, New York.

Part of her “Jihad Pop” series, the layered imagery merges private imagery, iconic Islamic spaces, and universal geometric forms. Seher’s visit provided a wonderful opportunity to hear her insightful−and impromptu—comments about the piece.

Valerie Hegarty (American, born 1967). Fallen Bierstadt, 2007. Foamcore, paint, paper, glue, gel medium, canvas, wire, and wood. Gift of Campari, USA , 2008.9a–b. Photo courtesy Matt Verzola via Flickr. All Rights Reserved.

Hanging off kilter in 21: Selections of Contemporary Art from the Brooklyn Museum is Valerie Hegarty’s Fallen Bierstadt (2007). Looking like a charred painting that’s disintegrating, one corner of the ornate gold frame appears to lift off the wall while the lower half of the canvas and frame appear to have crumbled into pieces of debris that lie in small piles on the floor. What appears to be a painting is in reality a highly illusionistic facsimile crafted by Hegarty out of ordinary materials including paper, foam core, and wood.

Bridal Veil Falls, Yosemite, about 1871-73. Oil on canvas, 36 1/8 x 26 3/8 in. (91.7 x 67.0 cm.). Purchased with funds from the North Carolina Art Society (Robert F. Phifer Bequest) and various donors, by exchange, 87.9

Fallen Bierstadt refers to a painting entitled Bridal Veil Falls, Yosemite (in the collection of the North Carolina Museum of Art) by Albert Bierstadt, the renowned 19th century American landscape painter. I was gratified to learn that Hegarty, who lives across the street from the Museum, has frequently visited American Identities on the 5th floor where our own examples of Bierstadt’s paintings can be found. The title, Fallen Bierstadt, seems to refer both to the physical appearance of the piece and to the end of a heroic tradition of landscape painting. By mimicking the high degree of illusionism found in Bierstadt’s paintings, Hegarty’s fabricated object reveals her own skill as virtuoso.

While Patrick Amsellem and I were installing the exhibition, we invited Hegarty to place the debris on the floor as she wished and the placement was documented by our conservation department so that we can replicate it whenever the work is on view at the museum.