Wednesday, April 29, 2009
Sunday, April 26, 2009
Friday, April 24, 2009
pictures generation @ the met
The Pictures Generation, 1974–1984
April 21, 2009–August 2, 2009
Joyce and Robert Menschel Hall for Modern Photography and Tisch Galleries, 2nd floor
This is the first major museum exhibition to focus exclusively on “The Pictures Generation.” Educated in the self-reflexive and critical principles of Minimal and Conceptual art, this tightly knit group of artists brought those lessons to bear on a return to recognizable imagery, exploring how images shape our perceptions of ourselves and the world. Featured are 160 works in all media by thirty artists.
Monday, April 20, 2009
green pink caviar by marilyn minter
The film still above comes from Green Pink Caviar, a five-minute video by the artist Marilyn Minter that’s on view (along with short films by Patty Chang and Kate Gilmore) on MTV’s HD billboard at 44th Street in Times Square through April 30. (Starting April 24, a 60-second trailer will also run before midnight film showings at Landmark’s Sunshine theater.) New York asked Times Square passersby for their interpretations—and then spoke with the artist herself.
As seen in Times Square, sponsored by Creative Time.
(Photo: Bill Miller)
The Reactions
“This is inappropriate and uncouth. But I can’t stop looking at it, even though it’s not appealing.”
“Is it an ad for gum? It said ‘chewing.’ ”
“I don’t care about any of the fucking shit around it—I like that there’s art in Times Square and want to see more.”
“It’s difficult to see when there’s so much around it.”
KID, POINTING: “What the fuck is that?”
MOM, ANGRILY: “It’s lips.”
“This is sick and horny.”
“In this context it’s grating, almost too shocking. Maybe people’s reactions are part of the art.”
Minter responds: We were screwing around in my studio, photographing girls spitting out candy on a piece of glass to get images for paintings—but when we looked underneath, we all thought, “Cool!” Since I feed off the fashion world like a parasite—I use their makeup artists, their stylists, even their catering services—I waited for my next commercial assignment so I could slip my project in between takes. We filmed this during a M.A.C-makeup shoot.
I called up Ford and said, “Gimme a model with a really long tongue and nice, full lips.” They sent me Louisa Taadou. For the candy, I bought a lot of colorful cake decorations: Here, I used yellow méringue filling mixed with blue food coloring. Austin Lynn Austin filmed from underneath the glass with a high-def camera, and Louisa held her breath to avoid fogging it up. I made sure you couldn’t see the eyes, because as soon as you see the eyes, it’s a different narrative.
I don’t want to sound disingenuous, but to me it’s not sexy—it’s gorgeous. It’s about hunger and insatiability, a trailer without a movie behind it, an ad only for itself.
Saturday, April 18, 2009
younger than jesus @ new museum
nymag.com review by jerry saltz
In the last years of the boom, numerous artists came to the fore who have their aesthetic heads up the aesthetic asses of Gerhard Richter, Andy Warhol, Richard Prince, Cady Noland, and Christopher Wool. They make punkish black-and-white art and ad hoc arrangements of disheveled stuff, architectural fragments, and Xeroxed photos. This art deals in received ideas about appropriation, conceptualism, and institutional critique. It’s a cool school, admired by jargon-wielding academics who write barely readable rhetoric explaining why looking at next to nothing is good for you. Many of these artists have sold a lot of work, and most will be part of a lost generation. They thought they were playing the system; it turned out that they were themselves being played.
The New Museum’s flawed but tantalizing new triennial, “The Generational: Younger Than Jesus” puts this kind of art behind us and points to what might lie beyond that recycling machine. It’s a big show, assembled by a big crowd: The New Museum asked 150 recognized artists, critics, and curators to recommend artists. They put together a list of 500 or so, and three in-house curators—Lauren Cornell, Massimiliano Gioni, and Laura Hoptman (a Millennial, Gen-Xer, and Boomer, respectively)—sifted through it to create the final building-filling show of 50 artists from 25 countries. A swell 564-page “artist directory,” showcasing the hundreds of artists who were seriously considered but didn’t make the final cut, accompanies “Younger” and makes this one of the most refreshingly transparent exhibitions ever organized. (It’s a kind of salon des réfusés in book form.)
In the last years of the boom, numerous artists came to the fore who have their aesthetic heads up the aesthetic asses of Gerhard Richter, Andy Warhol, Richard Prince, Cady Noland, and Christopher Wool. They make punkish black-and-white art and ad hoc arrangements of disheveled stuff, architectural fragments, and Xeroxed photos. This art deals in received ideas about appropriation, conceptualism, and institutional critique. It’s a cool school, admired by jargon-wielding academics who write barely readable rhetoric explaining why looking at next to nothing is good for you. Many of these artists have sold a lot of work, and most will be part of a lost generation. They thought they were playing the system; it turned out that they were themselves being played.
The New Museum’s flawed but tantalizing new triennial, “The Generational: Younger Than Jesus” puts this kind of art behind us and points to what might lie beyond that recycling machine. It’s a big show, assembled by a big crowd: The New Museum asked 150 recognized artists, critics, and curators to recommend artists. They put together a list of 500 or so, and three in-house curators—Lauren Cornell, Massimiliano Gioni, and Laura Hoptman (a Millennial, Gen-Xer, and Boomer, respectively)—sifted through it to create the final building-filling show of 50 artists from 25 countries. A swell 564-page “artist directory,” showcasing the hundreds of artists who were seriously considered but didn’t make the final cut, accompanies “Younger” and makes this one of the most refreshingly transparent exhibitions ever organized. (It’s a kind of salon des réfusés in book form.)
Friday, April 17, 2009
picasso: mosqueteros @ gagosian gallery
nytimes.com
April 17, 2009
Art Review | 'Picasso: Mosqueteros'
Going All Out, Right to the End
By ROBERTA SMITH
In the main, Picasso only got better. That’s the take-away from the staggering exhibition of Picasso’s late paintings and prints at the Gagosian Gallery.
One of the best shows to be seen in New York since the turn of the century, it proves that contrary to decades of received opinion, Picasso didn’t skitter irretrievably into an abyss of kitsch, incoherence or irrelevance after this or that high-water mark...
“Picasso: Mosqueteros” remains on view through June 6 at the Gagosian Gallery, 522 West 21st Street, Chelsea; (212) 741-1717, gagosian.com.
Tuesday, April 14, 2009
fsu prepared to eliminate 21 programs
Florida State administrators on Monday afternoon released a draft of proposed sweeping cutbacks at the university, based on current reductions in state revenue.
If enacted, they would dramatically alter the university as we know it.
Twenty-one degree programs at FSU would be eliminated, including anthropology, German, oceanography, physical education and hospitality and golf management.
Numerous other programs would be reduced, merged or restructured. The Panama City campus would close effective Jan. 1, 2010. And approximately 350 faculty members would be laid off.
“It’s almost unbearable to consider,” FSU President T.K. Wetherell said. “This is going to have a lot of ramifications.”
The draft of cutbacks came out of the university’s budget crisis committee, which met earlier Monday. It was the first time specific programs were targeted for elimination.
Wetherell has scheduled a town hall meeting for next Tuesday to discuss the university’s plan for addressing the massive reductions in state aid. He’s expecting members of the Faculty Senate to have a counter-proposal to the draft released on Monday.
Music professor Jayne Standley, president of FSU’s Faculty Senate, believes the Legislature holds the power to change the budget forecasts.
“These (cutbacks) don’t have to happen,” she said. “The Legislature could solve this problem by solving the revenue problem in Florida.
“The size of the cuts that may be necessary are devastating,” Standley added. “I think the sum total is overwhelming and really will damage the university that Florida State has become.”
The state Senate and House will begin debating their respective higher education budgets this week.
FSU stands to receive $28.2 million less for the 2009-10 school year than it did in 2008-09 based on the Senate version, and $72.8 million less in the current House budget.
Senator Don Gaetz, a Republican from Niceville, said he sympathizes with Wetherell and FSU.
“In the toughest economy since the Great Depression, when nobody in my district is telling me the answer to their problems is for government to get a bigger slice of the pie, I’ve cast some pretty tough votes to increase fees up and down the line,” Gaetz said.
“We looked in the basement of the Capitol to see if there was some Confederate gold buried there,” he added. “There wasn’t. There’s no magic money.”
Programs targeted for elimination:
Anthropology
Apparel Design
Geophysical Fluid Dynamics
Geological Sciences
Molecular Biophysics
Oceanography
Hospitality & Golf Management
Physical Education
Science Education (College of Education)
Geography
Behavioral Psychology
Software Engineering
Art Education
Ceramics
Sculpture
Studio Art
Recreational Management
German
Slavic Languages
Demography
Art Administration
FSU prepared to eliminate 21 programs
If enacted, they would dramatically alter the university as we know it.
Twenty-one degree programs at FSU would be eliminated, including anthropology, German, oceanography, physical education and hospitality and golf management.
Numerous other programs would be reduced, merged or restructured. The Panama City campus would close effective Jan. 1, 2010. And approximately 350 faculty members would be laid off.
“It’s almost unbearable to consider,” FSU President T.K. Wetherell said. “This is going to have a lot of ramifications.”
The draft of cutbacks came out of the university’s budget crisis committee, which met earlier Monday. It was the first time specific programs were targeted for elimination.
Wetherell has scheduled a town hall meeting for next Tuesday to discuss the university’s plan for addressing the massive reductions in state aid. He’s expecting members of the Faculty Senate to have a counter-proposal to the draft released on Monday.
Music professor Jayne Standley, president of FSU’s Faculty Senate, believes the Legislature holds the power to change the budget forecasts.
“These (cutbacks) don’t have to happen,” she said. “The Legislature could solve this problem by solving the revenue problem in Florida.
“The size of the cuts that may be necessary are devastating,” Standley added. “I think the sum total is overwhelming and really will damage the university that Florida State has become.”
The state Senate and House will begin debating their respective higher education budgets this week.
FSU stands to receive $28.2 million less for the 2009-10 school year than it did in 2008-09 based on the Senate version, and $72.8 million less in the current House budget.
Senator Don Gaetz, a Republican from Niceville, said he sympathizes with Wetherell and FSU.
“In the toughest economy since the Great Depression, when nobody in my district is telling me the answer to their problems is for government to get a bigger slice of the pie, I’ve cast some pretty tough votes to increase fees up and down the line,” Gaetz said.
“We looked in the basement of the Capitol to see if there was some Confederate gold buried there,” he added. “There wasn’t. There’s no magic money.”
Programs targeted for elimination:
Anthropology
Apparel Design
Geophysical Fluid Dynamics
Geological Sciences
Molecular Biophysics
Oceanography
Hospitality & Golf Management
Physical Education
Science Education (College of Education)
Geography
Behavioral Psychology
Software Engineering
Art Education
Ceramics
Sculpture
Studio Art
Recreational Management
German
Slavic Languages
Demography
Art Administration
FSU prepared to eliminate 21 programs
Thursday, April 9, 2009
the model as muse @ the met
The Model as Muse: Embodying Fashion
May 6, 2009–August 9, 2009
The Tisch Galleries, 2nd floor
Exploring the reciprocal relationship between high fashion and evolving ideals of beauty, The Model as Muse: Embodying Fashion focuses on iconic models of the twentieth century and their roles in projecting, and sometimes inspiring, the fashion of their respective eras. The exhibition, organized by historical period from 1947 to 1997, will feature haute couture and ready-to-wear masterworks accompanied by fashion photography and video footage of models who epitomized their epochs.
Wednesday, April 8, 2009
artinfo: jobs
ARTINFO has launched a new Art Jobs Board for jobs, internships, residencies, and artist calls for entry. We have categories for nonprofits, museums, artist's assistants and arts administration, as well as consulting, editorial, and curatorial. We also have sections specifically for artist submissions and artist's residencies.
To search for jobs, internships, residencies, and artists opportunities, go to:
http://www.artinfo.com/jobs/
To search for jobs, internships, residencies, and artists opportunities, go to:
http://www.artinfo.com/jobs/
roxy paine @ the met
Roxy Paine on the Roof: Maelstrom
April 28, 2009–October 25, 2009 (weather permitting)
The Iris and B. Gerald Cantor Roof Garden
American artist Roxy Paine (b. 1966) has created a 130-foot-long by 45-foot-wide stainless-steel sculpture, especially for the Museum’s Iris and B. Gerald Cantor Roof Garden. Giving viewers the sense of being immersed in the midst of a cataclysmic force of nature, Maelstrom (2009) is Paine’s largest and most ambitious work to date. The latest in a diverse body of work, this sculpture is one of the artist’s Dendroids based on systems such as vascular networks, tree roots, industrial piping, and fungal mycelia. Set against Central Park and its architectural backdrop, the installation explores the interplay between the natural world and the built environment amid nature’s inherently chaotic processes.
Sunday, April 5, 2009
into the sunset @ moma
Into the Sunset: Photography's Image of the American West
March 29, 2009–June 8, 2009
Into the Sunset: Photography's Image of the American West examines how photography has pictured the idea of the American West from 1850 to the present. Photography's development coincided with the exploration and the settlement of the West, and their simultaneous rise resulted in a complex association that has shaped the perception of the West's physical and social landscape to this day. For over 150 years, the image of the West has been formed and changed through a variety of photographic traditions and genres, and this exhibition considers the medium's role in shaping our collective imagination of the West.
Wednesday, April 1, 2009
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