Showing only Notes + Links tagged museums
My major praise for the exhibition is the extraordinary installation of highly aggressive works, each of which would probably prefer to be all alone in the room—if not in the universe.Peter Schjeldahl — The Dakis Joannou collection, The New Yorker
An interview with Kentridge wherein the artist comments on his own responses; these appear in blocks of white that interrupt the original interview.
Abbott Miller and Kristen Spilman of Pentagram have designed a gorgeous book to accompany the William Kentridge retrospective at the MoMA. I had the chance to see Kentridge speak about his work and the opera he is working on a few weeks ago and found that he is all-at-once academic, inspirational, and hilarious. Did I mention the work is beautiful too?
The Pentagram designed book, above, honors and accentuates the work in a variety of ways, but I was particularly taken by the design of this interview that was later revised and annotated by Kentridge. After one lecture it’s not like I know the guy, but to go back and comment on his responses seems so delightfully like him! I’m glad to see it executed so sharply in terms of design.
Seven on Seven will pair seven leading artists with seven game-changing technologists in teams of two, and challenge them to develop something new —be it an application, social media, artwork, product, or whatever they imagine— over the course of a single day. The seven teams will unveil their ideas at a one-day event at the New Museum on April 17th.
A pretty interesting lineup. Includes Tauba Auerbach and Evan Roth, as well as Matt Mullenweg and David Karp, the creators of Wordpress and Tumblr, respectively. The others I am not familiar with, but look cool also.
Untitled by Anish Kapoor (2009)
BLDGBLOG has a great post, full of images, on an upcoming Guggenheim exhibition called Contemplating the Void.
New York’s Guggenheim Museum “invited more than two hundred artists, architects, and designers to imagine their dream interventions in the space.”
In this exhibition of ideal projects, certain themes emerge, including the return to nature in its primordial state, the desire to climb the building, the interplay of light and space, the interest in diaphanous effects as a counterpoint to the concrete structure, and the impact of sound on the environment.
These and many other images will be on display when the exhibition, Contemplating the Void, opens February 12, 2010.
As a (too good to be coincidental) prelude to this exhibition, the space has already been transformed by Tino Sehgal, whose current exhibition has removed all of the visual art from the rotunda. There is literally nothing that screams ART! on the walls or in the void. However, if you stare from the top down, you will notice one unmistakeable couple that can’t stop making out and the rhythmic pattern of people-in-conversation ambling slowly upwards.
Toddler and The Kiss by Tino Sehgal. Taken yesterday at the Guggenheim.
Make It Plain, 2006
This is a series of five unglazed color photographs set inside of custom built frames.Installation view
Whitney Museum of American Art, New York, 2008
Two color photographs set inside of custom frames and a copy of Eastman Kodak’s Twenty‐Fourth Edition book titled “How to Make Good Pictures” affixed to the floor.
Jenny Holzer Temporary Tattoo Set
Some of the font choices are questionable but I totally want these Jenny Holzer temp tattoos anyway!
The Whitney Museum’s Jenny Holzer Temporary Tattoos were produced for the exhibition Jenny Holzer: PROTECT PROTECT in collaboration with the artist’s studio. Designed using select tattoo fonts by Whitney designers, the 12 text pieces were chosen from Holzer’s Survival series and produced in a print run of 200 by Temptu, a professional cosmetic firm in NYC. Laid out on a single sheet of transfer paper, they are as collectible as Holzer’s pieces of printed ephemera, such as her early sticker and newsprint projects.
MoMa to mount major Henri Cartier-Bresson exhibition
The Museum of Modern Art will stage a a major retrospective of the photography of Henri Cartier-Bresson from April 11 to June 28, the museum announced this week.
The exhibition, “Henri Cartier-Bresson: The Modern Century,” will include 300 prints from 1929 to 1989, “at least one fifth of them previously unknown to the public,” MoMA promises.
Excellent.
YoGA @ MoMA (under a sculpture by Gabriel Orozco). HOW did I miss this ridiculosity/amazingness!?
Flavorpill’s yoga-loving friends headed to the Museum of Modern Art’s second floor atrium bright and early on Saturday morning for a class with Virayoga founder Elena Brower. What made this latest YoGA @ MoMA experience — the third installment of the popular series — so unique? The class took place underneath Gabriel Orozco’s 35-foot-long whale skeleton, and was accompanied musically by bassist Garth Stevenson.
I know there are at least two of us round these parts who would have loved this! Next time!
For the last two or three hundred years in human society, we have been very focused on the earth. We have been transforming the materials of the earth, and the museum has developed also over the last two or three hundred years as a temple of objects made from the earth. I’m the guy who comes in and says: ‘I’m bored with that. I don’t think it’s that interesting, and it’s not sustainable.’ Inside this temple of objects, I refocus attention to human relations.
Tino Sehgal - Making Art Out of an Encounter - NYTimes.com
(Thanks Aaron!)
Museums [as opposed to galleries] are places where popular appeal should be irrelevant. Unpopular but potentially revolutionary art ideas need places to be seen, heard and debated. Depth, not breadth, is what matters. That’s what makes the American system of art museums conceptually unique, even if it doesn’t always work out that way in practice.
Christopher Knight for the LA Times
I like this in theory but I’ve always thought of museums as being authoritative and popular, rather than sites of potential revolution. (At least in my lifetime it hasn’t seemed like New York’s big museums are trying to start revolutions?)
I get the potential ethics concerns, but Knight’s main argument against Deitch’s appointment at MOCA seems thin: that gallerists pander to critics and collectors while museums are off starting revolutions. Not sure I agree.
(via @theartmarket)
I am very interested in this new, younger audience that is not a professional art-going audience, but that is very interested in art. MOCA has a great collection and these very rigorous, historical exhibitions, exhibitions that are very meaningful and that advance the field to people who are professionally involved in art. But in order to thrive, the museum needs to engage a larger local audience and that is part of my mandate. Hopefully we can create programming that’s like Paul’s famous ‘Helter Skelter’ show that at the same time is rigorous, serious and ground-breaking but is also mentally exciting and brings in a whole new public.
Modern Art Notes does a Q&A with incoming MOCA director Jeffrey Deitch. It’s a good read, all of it.
(via jenbee)
Photo by Jim Krantz, one of the original Marlboro photographers whose work was appropriated by Richard Prince. James Danziger will be showing his photographs this fall. Looking forward to the exhibition and more thoughtful writing from Mr. Danziger himself.
I just remembered reading the NYT article on Krantz, If the Copy Is an Artwork, Then What’s the Original?, when it ran two years ago and the hours of debate it has sparked since then when bringing it up to various people.
Danziger on Krantz and Prince:
Krantz and I feel (to different degrees) that Prince’s work was more insightful and legitimate. So rather than picking a fight with Prince, we would rather accept his homage and take the opportunity to educate people about the source.
And even better is Krantz on Prince:
The recognition has been great because it’s fairly impossible with all the millions and millions of images out there to get recognized for anything now days.
[But] it’s not original and it’s not art. I still don’t understand it and I don’t see the significance of it no matter what.
It’s ballsy as hell, I’ll give him that.
I’m interested to see how the work stands on its own as photographs. It leads me to wonder how images of any kind become iconic? The rest of the interesting interview with Krantz by A Photo Editor is worth reading!
