I first went into Mary Reid Kelley’s exhibit upon arrival to the museum. When I walked in and took a right and looked at probably what was the most “normal” section of the exhibit. It was a bunch of sketches that Kelley drew which mostly just black and white lines and circles. If you were to turn around you would have seen this was the patterns on her costumes for the movies she made. This was only the start of the interconnectedness of her complex exhibit. The movie playing to the right had a script next to it which I picked up. It was called “you make ma Iliad”. I now had slight insight into what she was aiming for in her creation. I started watching the movie which was very strange to say the least. There were only women playing all of the roles, so it was hard to tell what kind of gender the characters were, or if they were even human. The strange set and costumes from these movies were gathered in the middle of the exhibit. It was cool how she had all of the aspect that contributed to her movies laid out as part of the art themselves, because she could have just showed the movies and not added all of the costume and set with it. Seeing the costumes separately was probably even weirder without the context of the movie, and I’m not sure I would have appreciated it all as much without the film accompaniment.
After being confused and a little disturbed after the Kelley exhibit, it was nice to walk into Eugene Speichers room. I guess I realized that I personally find relief in traditional art form through this visit. His exhibit was set up in sections, the first being portraits of people that he had known or inspired him. I found the long statement that he made about art to be very revealing. Reading this first was helpful because I got an insight to who he was as a person and his mindset behind making all of this art, which was all about originality and skillful precision. His long stretch hallway of sketches was beautiful, yet it I found it a little off-putting when it immediately led into the 80’s exhibit in the following room. Going to classic portraits and sketches to the colorful and abstract vision of the 80’s might not have been the best organization. Because the route I took led me to a whole new theme of artwork, and it was hard for me to absorb this work and then walk right back into Speicher’s still lives and landscapes. Perhaps if this was placed in a different room it would have been a better experience.