{"id":20035,"date":"2025-03-04T11:54:12","date_gmt":"2025-03-04T02:54:12","guid":{"rendered":"https:\/\/www.architectural-body.com\/?p=20035"},"modified":"2025-03-04T11:59:33","modified_gmt":"2025-03-04T02:59:33","slug":"a-rose-is","status":"publish","type":"post","link":"https:\/\/www.architectural-body.com\/?p=20035&lang=en","title":{"rendered":"A Rose Is"},"content":{"rendered":"\t\t
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Arakawa, And\/Or in Profile No. 2, 1974. Acrylic, graphite and plastic rose, glass vase, wood and builder\u2019s level on canvas, 77 1\u20442 x 107 x 6 1\u20442 inches<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The FLAG Art Foundation is pleased to announce\u00a0A Rose Is<\/em>, an expansive group exhibition that examines the ubiquity and multivalent meaning of the rose throughout art history and visual culture. Across a wide array of media, including video, sculpture, painting, and text, the exhibition considers the rose in all of its symbolic and ritual complexity, ultimately seeking to complicate our familiarity with it as a vehicle for consumption and desire.<\/p>

Artists include:\u00a0<\/em>Farah Al Qasimi<\/strong>,\u00a0<\/em>Polly<\/strong>\u00a0Apfelbaum<\/strong>,\u00a0Arakawa & Madeline Gins<\/strong>,\u00a0Genesis Belanger<\/strong>,\u00a0Louise<\/strong>\u00a0Bourgeois<\/strong>,\u00a0Joe Brainard<\/strong>,\u00a0James Lee Byars<\/strong>,\u00a0Pier Paolo Calzolari<\/strong>,\u00a0Ann Craven<\/strong>,\u00a0Sara Cwynar<\/strong>,\u00a0Alex Da Corte<\/strong>,\u00a0Jay DeFeo<\/strong>,\u00a0Ethyl Eichelberger<\/strong>,\u00a0Awol Erizku<\/strong>,\u00a0Cerith Wyn Evans<\/strong>,\u00a0Tony Feher<\/strong>,\u00a0Allison Janae Hamilton<\/strong>,\u00a0Gabriella Hirst<\/strong>,\u00a0Peter Hujar<\/strong>,\u00a0John Jarboe<\/strong>,\u00a0Anna<\/strong>\u00a0Jermolaewa<\/strong>,\u00a0Sarah Jones<\/strong>,\u00a0Anselm Kiefer<\/strong>,\u00a0Lee Krasner<\/strong>,\u00a0Dr. Lakra<\/strong>,\u00a0Linder<\/strong>,\u00a0George Platt Lynes<\/strong>,\u00a0Robert Mapplethorpe<\/strong>,\u00a0Katie Paterson<\/strong>,\u00a0Nicolas Party<\/strong>,\u00a0Kay Rosen<\/strong>,\u00a0James Rosenquist<\/strong>,\u00a0Taryn Simon<\/strong>,\u00a0Charles Sheeler<\/strong>,\u00a0Kiki Smith<\/strong>,\u00a0Haim Steinbach<\/strong>,\u00a0Cy Twombly<\/strong>,\u00a0Andy Warhol<\/strong>, among others.<\/p>

Drawing inspiration from Cy Twombly\u2019s monumental, four-part painting\u00a0The Rose III\u00a0<\/em>(2008), the exhibition situates the rose\u2014both physically and figuratively\u2014as an icon of beauty, enticement, excess, and abjection, all at the same time. Set against a vibrant turquoise backdrop, three purple, yellow, and tangerine roses overflow and drip down the face of the first three panels of the twenty-five-foot-long canvas, with the fourth panel containing text fragments from Rainer Maria Rilke\u2019s poem\u00a0The Roses\u00a0<\/em>(1926). Through an ecstatic combination of scale, color, and form, Twombly allows viewers to see the lushness and vitality of the roses while also contemplating their diminishment.<\/p>

The literary and linguistic life of the rose is explored throughout the exhibition. From excerpted stanzas from Rilke\u2019s poem to the language games found in Kay Rosen\u2019s\u00a0A Rose Is\u00a0<\/em>(1978\/2025)\u2014itself a reference to the line \u201crose is a rose is a rose is a rose\u201d from Gertrude Stein\u2019s poem\u00a0Sacred Emily\u00a0<\/em>(1913)\u2014the rose is framed as an idea, just as much as a perishable object to be given or received. Rosen\u2019s large scale, fuchsia text on FLAG\u2019s opening wall, as well as the photo-text work from which it is derived, casts the rose as a word to explore the tenuous relationship between concepts and the objects they point to. Leaning into Stein\u2019s sensibility that \u201cI like the feeling of words doing as they want to do and as they have to do,\u201d Rosen repeats the word rose again and again throughout her poem, such that new phonetic sounds are produced and with them new directions of meaning and imagery as well. Rather than imagine the rose solely as a flower, or in relation to the ideas of consumption and desire only, Rosen captures its complexity as so much of the work included in\u00a0A Rose Is\u00a0<\/em>does: as a malleable and historically layered entity open to contradiction and revision.<\/p>

Throughout the exhibition, viewers are invited to consider the flower as a site of overlapping and contradictory meanings. Though the combination of advertising and cultural ritual has made the rose synonymous with Valentine\u2019s Day and romantic gestures more broadly, it has equally strong associations with funeral processions and end-of-life commemorations. James Lee Byars\u2019s sculpture\u00a0Rose Table of Perfect\u00a0<\/em>(1989) highlights this duality, as 3,333 freshly cut red roses are studded into a perfect red sphere, only to fade and eventually die over the course of the exhibition. Like the Twombly painting, Byars\u2019s sculpture complicates our familiarity with the rose by combining its conventionality with its ultimate undoing. As a foil, Tony Feher\u2019s funeral wreath\u00a0Saint Rosalie Intercedes on Behalf of the Plague Victims of Palermo\u00a0<\/em>(1991) positions white plastic roses into a perfect circle, creating a dime-store gesture that will never diminish. Equal parts glamorous and devastating is Peter Hujar\u2019s photograph\u00a0Candy Darling on her Deathbed\u00a0<\/em>(1973), made at the performer\u2019s invitation on the occasion of her inevitable passing due to terminal illness. Surrounded by lavish flower arrangements\u2014as if in her dressing room after a show\u2014Darling is recumbent under dramatic lighting, wrapped in hospital bed sheets, her make-up just so, with a single long-stem red rose lying next to her failing body.<\/p>

Just as the rose is a natural form called upon to reinforce human connection, so too is it a commercial form used to advertise and sell products globally. Sara Cwynar\u2019s video\u00a0Rose Gold\u00a0<\/em>(2017), displayed in a black-box room on the second floor of the exhibition, examines this facet of the rose as an artificial construct that produces tangible reactions. Made in response to the release of Apple\u2019s Rose Gold iPhone, the video mines the history of product development and color theory, making both the color itself and the products it is used for seem glossy and attractive, while also calling attention to their status as kitsch objects of a cliche\u0301d consumerism. Further complicating the romantic connotation of the rose is Taryn Simon\u2019s\u00a0Framework agreement for economic cooperation. Quito, Ecuador, January 12, 2012, 2015, Paperwork and the Will of Capital\u00a0<\/em>(2015). The title of the work refers to the agreement between Ecuador and the European Free Trade Association (EFTA), situating the rose as a witness to politics, governance, and globalization. Further expanding the cultural history of the rose and the rose as witness is Gabriella Hirst\u2019s\u00a0How to Make A Bomb (<\/em>2015-ongoing). In response to a 1950s species of rose called\u00a0Rosa floribunda \u2018Atom Bomb,\u2019\u00a0<\/em>Hirst developed an interactive artwork wherein community members graft from the \u2018Atomic Rose\u2019 and surreptitiously plant the flower in public spaces, injecting the flower into collective consciousness as a vehicle for political violence.

FLAG would like to acknowledge the participating artists, artist estates, galleries, and private lenders\u00a0for their generous loans of artworks to this exhibition.<\/p>

\u00a0<\/p>

Quoted from the Official Website<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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