Even if you haven’t wandered up to 5th Avenue at 89th Street recently, chances are you’ve heard whispers of something unusual afoot. That something is courtesy of performance artist Tino Sehgal, whose ephemeral pieces rely on empty space and spectator involvement. One such piece in his current solo show at the Guggenheim, titled “The Kiss,” involves a couple embracing on the floor of the rotunda in a “changing, slow-motion, amorous” entanglement. We at Flavorpill love staging elaborate photo shoots in museums and decided to reinterpret Sehgal’s performance piece in five New York City art institutions: The Metropolitan Museum, New Museum, Rubin Museum, P.S.1, and the Brooklyn Museum. Could we choreograph the same magic?
Play voyeur and peep our exclusive slideshow after the jump.
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Spotlighting the work of New York-based artists P.S.1‘s new Studio Visit website provides an interactive, online peek into creative studios throughout the city.
The 459 (and counting) studios featured on the site will be displayed for a minimum of one month each, acting as temporary portals into the practices of emerging artists. The project is community-inspired and supported, with any professional artist in the five boroughs invited to submit photos and video of his or her space.
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MoMA’s contemporary exhibition outpost P.S.1 kicked off its season opener on Sunday under a sharp autumn sun, all the better to highlight the location (a former school in Long Island City), the architecture (especially a Bedouin tent-structure by MOS design in the courtyard) and crowd (a mix of fashion and art types ranging from Pratt students to stylist and editor Camilla Nickerson). Current offerings in the alternative space include the likes of photographer Robert Bergman, installation artist Chitra Ganesh, and multimedia stage artist William Kentridge, though the main event is surely 1969, a survey of modern art from MoMA’s permanent collection that was produced in the final year of the swinging ’60s. Exclusive photos after the jump.
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It’s safe to say that OLAFUR ELIASSON, who recently wrapped up his first major US survey at MOMA and P.S. 1, is the latest international art world juggernaut.
His waterfalls in New York Harbor form one of the largest (and most costly) exhibitions of public art the city has ever seen. He’s completed projects for LOUIS VUITTON and the BMW Art Car Collection, and his 2003 show at the TATE MODERN, THE WEATHER PROJECT drew more than 2 million adulatory visitors.
Curiously, he has yet to suffer the critical backlash that so often accompanies an artist’s rise to stratospheric fame. Alex Lessard-Pilon’s take on why after the jump. Read More »
