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 »
Eleanor Cayre , Benjamin Godsill & Joel Mesler
Invite you to:
May 15th – June 10th
Wednesday – Saturday, 2PM – 6PM
Greater LA is the first ever survey to take place in New York of art being made in Los Angeles right now, and its massive – but sometimes under-acknowledged – impact on the global stage. Filling a large industrial loft space in the heart of SoHo, Greater LA gathers the work of over 50 Los Angeles based artists who are setting the agenda for conversations about contemporary cultural production around the world. Far from being a comprehensive view, Greater LA aims to be a selection of work as varied and idiosyncratic as the landscape from which it emerges. Greater LA makes an argument for the vitality and urgency of art made in and influenced by the largest city on the Western coast of North America.
Organized by Eleanor Cayre, Benjamin Godsill, and Joel Mesler (a collector, a curator, and a gallerist respectively), Greater LA is the first large-scale exhibition highlighting art being made in Los Angeles right now as a subject worthy of examination. While many of the artists included have exhibited in gallery and museum settings in New York, they’ve never been contextualized as a group that shares, however subtly, an identity based upon their geography. Greater LA aims to be this contextualization, giving physical form to the oft-heard suggestion that the work made today in Los Angeles is some of the best in the World. Works include sculpture, painting, photography, drawing, installation, video and performance; none seen previously and many newly conceived for this exhibition.
Ezekiel Honig is a NY based music producer, sound artist and founder of two respected labels – Anticipate and Microcosm – well known in the circles of music connoisseurs and art enthusiasts. Many people, including myself, have fully embraced his solo work with the beautiful and enigmatic “Surfaces of a Broken Marching Band” (Anticipate, 2008). Aside from having released six studio albums and an equal amount of singles/EPs and splits/collaborations since 2003, Honig has also been producing sound for picture as well as being a constructive audio thinker.
Ezekiel has generously shared his latest release with me on a rainy Thursday afternoon of April. From the first seconds of this recording I immediately sensed that I am entering a very private territory. It brought me to a place that was warm, organic, and, strangely enough, familiar. The sounds coming from Honig’s latest album blended exceptionally well with the moody cityscape outside my window as if they were the reflecting voices of the neighboring buildings or the sighs and the pulses of the passers-by. “Folding In On Itself” carries Honig’s signature sound but its textural palette tells a more personal story that ties the artist to the city he inhabits and the city respectively becomes the skin and bone of Honig’s aural canvas. A minor difference worth noting compared to his earlier offerings is that Folding In On Itself is released under the Type imprint, home to artists like Xela, Helios, Goldmund, Deaf Center, Mokira and Rene Hell among others.
Folding In On Itself Record Release Party is on May 12 at Littlefield. The bill also includes a DJ set by John Xela (founder of Type) as well as a set by Borne. More info about the event can be found here.
MP: Does “Folding In On Itself” summarize your personal soundprint within the collective memory of this city and its past?
Ezekiel Honig: Well, it’s a tiny sliver of that, an example of moving through cities. I wouldn’t feel comfortable calling it a summary, but more a version of it. Similarly, although New York City dominates the album, there are moments from Torun, Poland, and Milan, Italy as well. In a way, any city serves the purpose and the symbolism, even though the heart of it and the majority of the outdoor sounds do originate in New York. I recorded all the original sounds so it’s all remapping experience, wherever I was when the recordings happened. Continue Reading More »
Judith Scott, Untitled, 2004. Courtesy of Creative Growth Art Center, Oakland
Create, an exhibition that highlights the extraordinary contributions of three of the leading centers for artists with disabilities in the United States: San Francisco’s Creativity Explored, Oakland’s Creative Growth Art Center, and Richmond’s National Institute of Art and Disabilities (NIAD Art Center). Curated by BAM/PFA Director Lawrence Rinder, with Matthew Higgs, director of White Columns, New York, the exhibition features over 135 works by twenty artists who have created artworks at these centers over the past twenty-five years. On view from May 11 through September 25, 2011, the exhibition features works by noted artists Judith Scott, William Scott, Willie Harris, James Miles, John Patrick McKenzie, Evelyn Reyes, Aurie Ramirez, and Dan Miller, among others. Continue Reading More »
Simon Linke Warhol, 2004. Courtesy Mireille Mosler Ltd.
(from the press release) No one seems to be sure what the decline of modernism’s cultural influence, beginning sometime in the 1950’s and 60’s, has led to. The return of narrative and ornament in the art and architecture of the 1970’s suggested an effort to break with the immediate past, but the privileging of rationalism as a guiding social order evident in the idea of markets finding their perfect equilibrium continues to dominate economic discourse, despite the occasionally irrational results. While architects like Frank Gehry, Zaha Hadid, and Rem Koolhaas seemed to have represented “a new way forward,” the prevalence of a creeping re-modernism found in the ubiquitous Corbusier-like, double-height urban lofts sheathed in glass and filled with mid-century modern furniture confirms the continued appeal of modernism’s aesthetic essentialism. Continue Reading More »
Ann Marshall, Beige, 2011. Courtesy Subliminal Projects
The classical figure has been admired throughout history and mastering the depiction of the human figure has long been considered the cornerstone of artistic practice. To perfect their representation of human anatomy, musculature, and proportion, artists throughout the ages turned to ancient Greek and Roman sculpture. By imitating ancient precedents, the Old Masters of art developed a classical figural type that remained the predominant mode of representation for centuries. Following, the 16th and 17th centuries of the Renaissance took the classical figure to a higher level through the use of perspective, the study of human anatomy and proportion, and through their development of an unprecedented refinement in drawing and painting techniques. In the present day, these leading contemporary artists have a heightened ability to understand and interpret their subject, while emphasizing the mind-set and methodologies that have guided artists for over five hundred years. Their figures are influenced by characteristics of today- feelings, surroundings, beliefs, and relationships, incorporated with new techniques and mediums, while still holding true the fundamentals of the classical form, thus becoming the New Masters.
The New Masters exhibition focuses on today’s leading contemporary artists and their approach to the classical figure with works by Mary Jane Ansell, Sean Cheetham, Ron English, Benjamin Bryce Kelley, Miles ‘Mac’ MacGregor, Ann Marshall, Stephen Wright, and Jonathan Yeo.
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