The International Contemporary Furniture Fair is a design-addict’s Oz. If you made your way through the maze to the back of the Javits Center this Sunday, you would have found the Lion — a heavily bearded Michele De Lucchi — sitting down for a chat with Glenda, embodied in the stylish, shining Paola Antonelli. Manufacturers, fabricators, designers, and the PR people who support them filled the audience to hear Antonelli, senior curator at the Museum of Modern Art, speak with renowned Italian designer De Lucchi.… Read More
According to Karina Longworth at Spout, “Azazel Jacobs has made a short film for the Museum of Modern Art in New York. The 90 minute film, called I See, is the first in a series that MoMA plans to commission, at the rate of one per year, from filmmakers who screen work in their spring New Directors/New Films series.” His feature Momma’s Man, which we’d also recommend (if just to see the nutty Tribeca apartment he grew up in), was part of last year’s series. [Thanks for the tip,… Read More
MoMA’s survey of Dutch artist Aernout Mik’s moving image installations keeps you waiting. Scattered in improbable places throughout the museum, his films often grab viewers with the same immediacy as news media footage. But after ten minutes, it becomes clear that no story will develop. His installations, suspended in time by perpetual loops, construct scenes that are bizarrely unaffected by their duration. Despite the occasional promise of action, Mik’s work is entirely devoid of narrative. While many of them deal with contemporary issues, none of them contribute judgment or interpretation. On the contrary, Mik’s work leaves its audience knowing far less than when they first encountered it. … Read More
Last week at the Tribeca Filmmaker party, we spied some slick posters promoting the Filmmaker Talks happening throughout the festival put on by indieWIRE and Apple. With a slate of emerging and established creative voices including Natalie Portman, So Yong Kim & Bradley Rust Grey, Kirby Dick, Gael Garcia Bernal & Diego Luna, Ti West, Gabriel Noble and Spike Lee, this is by far one of the best (and free!) creative series worth hitting in SoHo these days. … Read More
When Compass in Hand opens today at MoMA it will introduce the public to a vast selection of works on paper from the 2,500 piece collection. Formed by the foundation’s sole trustee Harvey Shipley Miller in only two years (during which Miller presumably slept for no more than two hours a night), it features works that date from the ’30s to the present with an emphasis on the past two decades. There are big names like Jeff Koons, Elizabeth Peyton and Donald Judd, but the show also includes a fair share of up and comers as well as outsider artists like Henry Darger and James Castle. … Read More
James Franco is an enigma. His breakout roles in the excellent short-lived TV series Freaks & Geeks and the freshly-minted stoner classic Pineapple Express cleverly flaunt his good looks and comedic chops. His portrayal of Harvey Milk’s distressed lover in Gus Van Sant’s Milk showcased an emotional depth. His upcoming collection short story collection would suggest that he has a brain. In Erased James Franco which MOMA screened as part of its Modern Mondays film series, more layers of the actor were hastily revealed, none of which we’ve seen before. … Read More
Jeremy Abelson: Did the campaign receive more attention because of the modifications made to it?
Doug Jaeger: Probably, but for what? I mean it received attention for being slashed up. In some circles that’s really cool, but, ya know my parents were like “we’re really disappointed in you.”
We’ve been running into the “is it art?” question a lot recently. Sure — it’s been lingering unanswered since Marcel Duchamp plunked a urinal down at the Armory Show, but people seem especially bewildered this month. They handwringing started at the beginning of March when Jeremy Deller opened It Is What It Is, a series of conversations about the Iraq war that looked very unlike, say, a Renoir. Fair enough. We weren’t sure if it was art either. Then Tyler Green of Modern Art Notes asked if the collection of historically important photography at MoMA, which includes pictures of Abu Ghraib and Vietnam, could possibly be considered art. We were equally conflicted. Even the New Yorker wanted to know if the BMW Art Cars were art. Who knows — art or not we wouldn’t kick one out of our garage (if we had a garage to begin with).
In the spirit of the times, we wanted to know how many people can discern a Polaroid of drunk kids at a party from one of Dash Snow and his friends that debuted at the Saatchi Gallery. So play along with us. After the jump, let us know if you can tell which of the following images are intended to be art and which aren’t. … Read More
The text panel prefacing The Problem Perspective, the first major U.S. retrospective of German artist Martin Kippenberger, opens with a quote from Aristotle: “everything in moderation.” It then continues with the following statement: “Martin Kippenberger never got this message.”
Curatorial assistance or not, it doesn’t take long to pick up on the Dionysian overtones of Kippenberger’s work. At the entrance to The Problem Perspective an oat-covered Ford Capri peeks out into the foyer (a nudge to Anselm Kiefer) and continuing through the exhibit, the viewer passes by drunken street lamps (which unlike sober ones weave in and out of walls) deprecating self-portraits, and a junkie’s forest populated by disco balls, wooden pills, and ominously headless birch trees. … Read More