Upon arriving at the art museum, a giant, electric blue rope greets me at the entrance. The artwork surprises me since I did not expect to see such thing in a small museum. The rope comes out of from between a woman’s tattooed that stick out from a hole in the wall. It continuously extends from there and intertwines through bright white pillars on the ground level. The almost mile-long rope snakes up the building through horizontal columns that separate each story. The installation leads me to the next story where the exhibitions are on display. I follow the rope to the second floor which exhibits Ida Applebroog’s series Catastrophe with its colors contrasting against blank plaster walls. Each individual piece is drawn on five by two-and-half feet mylar sheets. These have a cream color and are translucent with a matte finish. Applebroog’s consistent style involves simple, curvilinear figures that resemble the abstraction often seen in children sketches. The series consists of seven art parts, of which only two draw my attention.
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The horizontal one shows a faceless person wrapped in a blanket and strapped to a stretcher. Next to it, the vertical sheet has a nurse giving her back to observers as she pulls the patient’s stretcher away. On the nurse’s spine, a watercolor spot (which has a dark pansy, navy blue, mint, and gray gradient) hovers over the patient’s head. Applebroog balanced the painting asymmetrically with the chrome spot to similarly draw the attention from the horizontal and vertical sheets. The wet media used is a combination of ink, wash, and watercolor. Bold organic shapes in ebony ink are washed a little to smear in murky, gray tones. The faded outline of the black ink creates shadows as if the light source in the picture came from the right-hand
The horizontal one shows a faceless person wrapped in a blanket and strapped to a stretcher. Next to it, the vertical sheet has a nurse giving her back to observers as she pulls the patient’s stretcher away. On the nurse’s spine, a watercolor spot (which has a dark pansy, navy blue, mint, and gray gradient) hovers over the patient’s head. Applebroog balanced the painting asymmetrically with the chrome spot to similarly draw the attention from the horizontal and vertical sheets. The wet media used is a combination of ink, wash, and watercolor. Bold organic shapes in ebony ink are washed a little to smear in murky, gray tones. The faded outline of the black ink creates shadows as if the light source in the picture came from the right-hand