You probably already know about the relocation of the Whitney Museum to the Meatpacking in Chelsea. It’s a massive project that has been keeping the staff at the Whitney pretty busy for the past year. The new building is designed by the renowned Renzo Piano (the Centre Georges Pompidou is one of my favorite buildings). Without doubt, the building will become an art piece in itself, situated at the foot of the Highline with Frank Gehry’s IAC building and The Standard Hotel looming above and behind. This new and very contemporary space will be an amazing backdrop to cutting-edge and dynamic works, that is able to use both indoor and outdoor mutli-layered spaces. Although the new location officially opens in the Fall, this Saturday May 21st, the Whitney will be hosting a one-day fiesta to shake things up. Complete schedule of events below.
“The new building will include more than 50,000 square feet of indoor galleries and 13,000 square feet of rooftop exhibition space, providing long-awaited opportunities to show more of the Whitney’s unsurpassed collection of 20th- and 21st-century American art in tandem with cutting-edge temporary exhibitions.”Continue Reading More »
Spring in New York is a brief and uncertain period according to the Green Michelin Guide, but the weather held for the preview of “Anthony Caro on the Roof” at the Metropolitan Museum of Art on April 25. The five, large-scale steel sculptures are typical of his work, with characteristic use of ground plane and prefabricated steel sections. The English sculptor, 87, spoke to press, friends and admirers, in the midst of his playfully arranged works. “I am very thrilled”, he said, no doubt referring to how supremely suited they were to the expansive Cantor Roof Garden, framed, no less, by blossoming trees in Central Park. Continue Reading More »
Courtesy of Berkeley Art Museum & Pacific Film Archive, gift of Helen Hesse Charash, 1979. Photograph by Abby Robinson
(from the Press Release..)
The German-born, American artist Eva Hesse (1936–1970) played a central role in the radical transformation of sculptural practice in the 1960s. Hesse belonged to a generation of artists, including Bruce Nauman and Andy Warhol, who expanded the conceptual and technical possibilities for art. BAM/PFA is extremely privileged to present a group of rarely seen sculptures that show the inner workings of Hesse’s studio practice. The objects, both small and large, range from raw material experiments to works in their own right, all of them revealing process and the moments between thinking and making. Organized by The Fruitmarket Gallery in Edinburgh, this unprecedented presentation of Hesse’s small-scale experimental works has traveled to London, Barcelona, and Toronto before its appearance in Berkeley. Continue Reading More »
George Condo was born in 1957, meaning he is 53, the same age as my mother.
The artist’s newly opened retrospective “Mental States” at the New Museum, was exceptional in part for this reason. It was refreshing to see an exhibition of this weight and vitality at the New Museum. It was especially exciting considering the artist is not “younger than Jesus” but 4 decades into his mature career.
At the risk of seeming vague or trite, or both, there is something timeless about George Condo’s Work. During the 1980s, while friends like Jean-Michel Basquiat, Keith Haring and Mary Heilmann were developing their own signature styles, Condo wasn’t. Rather, he was constructing his toolbox. The artist has become a master of appropriation, not of material but of style. He has an uncanny ability to pull inspiration and support from across art history. An avid museum visitor, the artist constantly footnotes artists as disparate as, Picasso, Bacon and Fragonard. Continue Reading More »
Agnes Berecz’s December 2, 2010 lecture/slideshow On Line: Drawing Through the Twentieth Century, coinciding with the MOMA exhibition through February 7, 2011 and part of the BrownBag Lunch Series gave maximum attention to the most minimal unit of drawing—the line. OnLine, explores the radical transformation of the medium of drawing.” Continue Reading More »
Upon entering the MoMA’s Abstract Expressionist New York I immediately felt at home. As cliché as it may sound, MoMA’s most recent exhibition, which takes up the entirety of the fourth floor painting and sculpture galleries, is full of old friends. The show combines hundreds of paintings, sculptures and works on paper from the permanent collection, in an exhaustive effort to showcase New York postwar painting. Many of the paintings in the exhibition are gems usually on permanent display. Re-configured into a new narrative structure, the exhibition has shined new light on old favorites. Barnett Newman’s The Wild, Jackson Pollock’s Echo: Number 25, 1951 and Franz Kline’s Chief are among the most iconic of these examples. Continue Reading More »
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