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
For institutions such as Art Basel (with Art Basel Miami Beach) or the Swiss Institute (with showrooms in both New York City and Paris), contemporary Swiss art is certainly not confined to national boundaries. Yet, Swiss galleries and museums very much give respect to their own artists, both with more established names and a new wave of young guns.
In Zurich, Galerie Eva Presenhuber represents local duo Peter Fischli and David Weiss, heavy hitters with a fantastic sense of humor that plays on the banality of objects taken out of context. Another big name in the Presenhuber stable is Ugo Rondinone, whose rainbow Hell, Yes! graces the New York’s New Museum, but is also known for bringing traces of melancholy to his work. Sylvie Fleury, with her chrome-plated Gucci shoes on display in the gallerist’s loft residence, also shines in this constellation; her works place women in positions of authority, drawing from the worlds of fashion, car racing, and even space travel. Bringing up the rear, young artist Valentin Carron is currently showing replicas of bas-relief sculptures representing traditional work activities — not without a touch of irony — at New York’s 303 Gallery. … Read More
The past two days passed by like two hours. We arrived at Pier 94 for the contemporary wing of the Armory Show at 4 p.m. Wednesday, in advance of the opening. Before we could actually see much art we starting seeing out-of-towners, such as Beyeler Fondation director Sam Keller, who used to direct Art Basel and Art Basel Miami Beach.
We cruised the first few aisles, where galleries like Deitch Projects and Victoria Miro held court, while taking pictures of New York Magazine art critic Jerry Saltz, Swiss Institute director Gianni Jetzer, and others. We snagged artist Maurizio Catalan and New Museum curator Massimiliano Gioni for an amusing photo at Lombard-Freid Projects booth and then headed over to the VIP lounge for a coffee break. … Read More