Art

  • Thursday night awesomeness in Soho

    Lilibeth-Cuenca-Rasmussen.jpg

    Lilibeth Cuenca Rasmussen, The Artist’s Song, 2007

    Corrected: The Elk Gallery show opens Friday.

    Who could have expected it? There are 2 openings I can’t wait to go to tomorrow night, not on the LES or in Chelsea or Williamsburg, but in Soho! One is the inaugural show, titled The Cult of Personality: Portraits and mass culture, of artist Peter Scott’s new gallery called Carriage Trade. As the gallery’s about page tells us:

    Through presenting primarily group exhibitions, carriage trade will function not as a means to promote the careers of individual artists, but to provide contexts for their work that reveal its relevance to larger social and political conditions prevalent today. A project of the artist / curator Peter Scott, whose exhibitions have attempted to highlight this relevance over the value of any given artist’s work within the hierarchy of the art market, these projects will intentionally combine well known with lesser known artists, and historical pieces (60’s, 70’s, 80’s) with very recent work. Originally influenced by the approach of magazines like The Baffler and Harper’s which combine fact based readings with editorial commentary, Scott’s curatorial approach often integrates relevant found material as a means to broaden the scope of an art exhibition by positioning the “evidence” of everyday experience in direct relation to an artist’s mediation of social conditions.

    Some themes to be addressed in upcoming shows include issues of propaganda in mass media, the effect of neo-liberal policies on the built environment and social relations, as well as the concept of “mistaken identity” and likeness within the realm portraiture. The location of Soho, a neighborhood that could be seen as a now historical model for the intense gentrification taking place in cities everywhere, provides an appropriate setting for addressing the cyclic nature of urban transformation, (Soho enjoyed a previous incarnation as a high-end shopping district in the mid -1800’s during America’s Gilded Age) due to seismic shifts in economic relations.

    Peter Scott made one of my favorite things I’ve ever seen at the Brooklyn Museum — the “Suspect” piece at the 2004 exhibition “Open House.” Read this review by Stephen Maine on artnet.com for a description.

    The second is an opening with a performance by Lilibeth Cuenca Rasmussen whose work James and I saw in Miami at the NADA art fair. It’s at the Renwick Gallery.

    Correction: Opening Friday

    The third is the exhibition “Dropped Frames,” described as a “A Collaborative Experiment in Film,” at Elk Gallery. We’re interested in anything that includes Andres Laracuente and Elizabeth Huey. Admittedly, this one is kind of between the LES and Soho.

    [image above is from the invitation JPEG I received from Renwick Gallery.]

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  • ArtCal / Culture Pundits Linkage

    Paddy Johnson has written an article for the ArtCal Zine about the ArtCal survey results.

    Libby and Roberta encourage artists to sign up for the Culture Pundits artists program. Wouldn’t you rather have your images show up on smart culture blogs rather than next to trashy gossip? Also, our footers on the images are much more subtle. Here is an example for Jonathan Podwil:

    jonathan podwil

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  • Best art press release factoid of the week

    From Roebling Hall’s press release for the Doug Young show opening this Friday:

    Doug Young has exhibited widely in New York and Chicago. In 2001 he was awarded the Guinness Book World Record for the longest nonstop banjo performance in history—24 hours total.

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  • Jim Lambie installation process at MoMA

    James already wrote about this, but here are my photos taken the same day. This is part of the “Color Chart: Reinventing Color, 1950 to Today” exhibition opening next week at MoMA.

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  • Seen in Miami: Tim Sullivan at Lisa Dent Gallery (Aqua Wynwood)

    tim-sullivan-2007.jpg

    Tim Sullivan 2007
    2007
    c-print
    24 × 20 inches

    Despite my dazed feeling by the time I reached Aqua Wynwood, the work I saw by Tim Sullivan, being shown by Lisa Dent Gallery, really stood out. The image above is from his series of self portraits taken once per year. Below is an installation shot of the video “Hamburger A/Hamburger B” from 2007. The image above is from the artist’s website, and the one below is courtesy of the gallery. Apparently he has never been in a show in NYC!

    tim-sullivan-hamburger.jpg

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  • Ensemble Pi: The Rest is Silence – March 1

    eyal-danieli-ensemble-pi.jpg

    James and I don’t only follow the purely visual arts. We attend a lot of theater, dance, and other performance. The next few weeks have a lot of things of interest. I’ll do several posts with recommendations, but this one is really important, and has a visual component too. Come see it with us on the 1st.

    Ensemble Pi: The Rest is Silence

    Saturday March 1st, 2008 at 8pm
    Tickets at the door $15.

    Venue:
    The Great Hall at Cooper Union
    7 East 7th Street at Third Avenue
    map

    Program:

    • William Kentridge, Philip Miller: Two Shorts from Nine Projections featuring a live performance of original score for string quartet, trumpet and piano (2003)
    • Frederic Rzewski: Johnny Has Gone for a Soldier, for piano (2003) U.S. premiere
    • John Harbison: Abu Ghraib, for cello and piano (2006) N.Y. premiere
    • Kristin Norderval: Far From Home, for two voices and computer-generated sound (2007)
    • Dmitri Shostakovich: Piano trio No 2 in E minor, opus 67 (1944)

    Guest Speaker: Naomi Wolf, author: The End of America

    [image at top is Eyal Danieli, invitation for Ensemble Pi]

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  • Brooklyn Museum – sharing images of the collection on Facebook

    artshare-on-facebook.jpg

    [screengrab from my profile]

    Via C-Monster, I learned that the Brooklyn Museum is sharing images of works in their collection via a Facebook application called Artshare. They set it up so that other institutions can join in too, and so far the list includes

    • Metropolitan Museum
    • Victoria & Albert
    • Indianapolis Museum of Art
    • Picture Australia (which combines images from multiple collections)
    • Powerhouse Museum
    • Walters Art Museum

    I particularly liked this, from the Museum’s blog announcement:

    For the past week, weÂ’ve been uploading (OK, well, Francesca Ford has been uploadingÂ…thanks, Francesca) our collection highlights into the application, but then we hit a snag when we got to our Contemporary collection. Since artists often retain the copyright on contemporary works, we stopped uploading and started making phone calls and sending emails to artists and galleries seeking permission to include their work in the first phase of this project. I have to extend my thanks to the artists (Jules de Balincourt, Barron Claiborne, Anthony Goicolea, Rashid Johnson, Lady Pink, Kambui Olujimi, Suzanne Opton, Andres Serrano, Swoon, Yoram Wolberger) who saw the worth in this kind of endeavor and said go for it. We will continue to contact more of the contemporary artists in our collection and add to these initial works, but we wanted to pause now and launch ArtShare for beta testing.

    If you’re already on Facebook, go here to add it.

    Related:

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  • ArtCal newsletter breaks 2000

     

    ArtCal

     

    The ArtCal weekly newsletter went out to just over 2000 subscribers today. We sent out the first one on March 30, 2006.

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  • Is this a “no photography” watcher?

    303 Gallery

     

    Until yesterday I had never seen someone seated in the front room of 303 Gallery. I’m wondering if this is in response to James Kalm’s “down low” video tour of the Karen Kilimnik show, as 303 Gallery, despite its founder’s interest in appropriationist art, has a strict “no photography” policy. Here is James’s video on the subject. Use this link if you don’t see the video below.

     

     

    There is also an interesting comment thread on this post at Edward Winkleman’s blog.

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  • 475 Kent yesterday

    475 Kent

    James and I were at 475 Kent yesterday with others at a protest / vigil as the tenants removed belongings before the building was padlocked. My flickr slideshow of other images is here.

    City Councilmember David Yassky was the only elected official I saw in the hour or so we were there. He was good, saying “this is crazy!” and pointing out that the idea of throwing thousands of people in similar situations out of their homes is not an appropriate approach. [Update: In the comments below I am told that “Our State Senator, Assemblyman, a community board member and another community board member were also there. They all spoke at the press conference off to the side of the lockdown.”]

    Here is the press release from several days ago, and there is a website with a message board too, called 475kent.com.

    JANUARY 24, 2008
    PRESS RELEASE:
    FROM: 475 Kent Tenants Association

    MATZOGATE

    NEW YORK CITY’S ARTISTIC COMMUNITY UNDER ATTACK

    The live-work building located at 475 Kent Ave in Brooklyn’s coveted waterfront neighborhood of Williamsburg was issued a Vacate Order by the NYC Fire Department on Sunday, January 20th at 7:30PM, the day before Martin Luther King day. Tenants were given until 1:30 in the morning to leave the building on a frigid January night.

    475 Kent is a microcosm of New York City’s cultural and economic activity with creative professionals generating an estimated $15 million in annual revenue. The vibrant community of 200 working artists – photographers, architects, writers, musicians, sculptors, filmmakers, designers, painters, printmakers, etc. is under attack.

    It seems that the D.O B. is intent on making sure people will never be able to return to their spaces until all repairs are made and the building has a residential C of O, a prospect that could take years and millions of dollars. This renders 200 inhabitants most of whom are self-employed, small business entrepreneurs, both homeless and out of work. This building has been consistently and viably supporting creative professionals lives and businesses for ten years. The illegal eviction at 475 Kent comes on the heels of the evacuation of 17-17 Troutman in Ridgewood. That people’s livelihoods and homes are being put in complete jeopardy makes one wonder if this is a trend and begs the phrase “follow the money”.

    The events on Sunday night were precipitated when the FDNY inspected the basement of 475 Kent Ave. and “discovered” two 10’ diameter metal canisters containing grain used for making Matzo. The Matzo bakery has been in the building for more than ten years. The DOB and fire department have inspected 475 Kent Avenue regularly for the past ten years and would have had to be blind if they were not fully aware of the existence of a Matzo bakery and the grain. The presence of the grain resulted in a so-called “hazardous emergency” situation that gave FDNY and DOB license to vacate the building. When some residents and the landlord offered to alleviate the problem and remove the grain from the building on Sunday night the FDNY replied “you are not qualified to move the grain”. They then issued the vacate order.

    What ensued was unmitigated chaos under the direction of our friends at the OFFICE OF EMERGENCY MANGEMENT starring the New York City Fire Department, Department of Buildings, NYPD, Health Department, Department of Agriculture and the Red Cross. Their only area of competence was at holding closed-door, inter-agency meetings, in which no tenant representative was allowed, every two hours in their brand new location trailer. How many City agencies does it take to unscrew a lightbulb? We’ll let you know, we’re still counting.

    Upon the issue of the vacate order 200 people scrambled to rid 110 spaces of their most crucial belongings. The following day people were given 6 hours access to remove their belongings, tools and equipment, a scenario that for most people who had been in residence for 5 – 10 years with substantial equipment and installations was completely untenable. From there the scene snowballed. On Tuesday January 22, tenants arrived with moving trucks at 10am having been told they would have another 6 hours access to the building. They found all entrances blocked by NYPD and FDNY and no one was allowed upstairs. Finally, at 1pm the leaders of each agency stood on the staircase and delivered their plan to the crowd:

    – residents would be allowed into the building six people at a time for one hour, followed by another group of six people each being granted one hour.

    Do the math.

    No, we’ll do it for you. 200/6= 33.3 hours it would take to allow each person ONE hour access to collect their stuff. Then they shut down the elevators, insuring that the task was impossible. People, in a panic that this would be their last chance to save their belongings, began to carry equipment and valuables down ten flights of stairs, creating a real hazard.

    As of Wednesday, January 23, the grain has been removed from the basement of 475 Kent Avenue, alleviating the immediate “hazardous” condition. Now the tenants have been allowed a final four days, six hours a day, to access the building. On Sunday night, January 27, the building will be padlocked prohibiting all further access for the foreseeable future. Why the building is safe enough to access for four days, but suddenly deemed unsafe again on Monday is a mystery to which DOB, OEM, FDNY has not provided an answer. Although requested repeatedly the DOB has never provided a complete list of the violations on the building. We know one of these violations is an inoperable sprinkler system, a problem that can mitigated with the presence of fire-guards while the system is repaired, allowing continued occupancy of the building.

    Since the 1960’s New York City’s tacit urban renewal policy has been reliant on artist’s moving into derelict buildings in less desirable neighborhoods. The city does nothing to bolster or support economic activity in these down and out areas, nor do they do anything to create affordable, legal, usable space for live/work entrepreneurs. 475 Kent is a prime example of this kind of turn-a-blind-eye urban renewal that has been a boon to the City of New York. A decade ago South Williamsburg was a dangerous neighborhood. Once artists take the initiative to live on the edge and restore and renew unused real estate in what were marginal areas the City becomes predatory. The transformation of Williamsburg by the artist community into one of New York City’s most desirable neighborhoods encourages the city to move artists out as they calculate the tax revenue of luxury condo developers moving in. No one in any city agency cared about our health and safety ten years ago. Now that our building has become hot property the City is ready to muster all the powers of its many agencies to assist in the muscling of the property from the owners and the tenants. The tenants of 475 Kent Avenue call into question the hypocritical policies being put forth by the agencies of the City of New York. We cannot help but wonder what forces are driving this vacate and why the agencies are suddenly so concerned for out health and safety.

    475 Kent Tenant’s Association

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