Staying Up Late at Museums

Rubin Museum of Art

A participant taking a photograph of the painting she would sleep under in a Dream-Over at the Rubin Museum of Art.

Darcey Howard had her reasons for showing up at the Rubin Museum of Art in her pajamas. Seeing the Himalayan paintings and multilayered manuscript pages was not one of them. People waiting in line into the night this summer to see the “Alexander McQueen: Savage Beauty” exhibition at the Metropolitan Museum of Art. “It was the opportunity to spend a night in a museum,” she said. “I was interested in the access off-hours, of being there when it was almost taboo.”

But there was nothing illicit about her arrival after dark. She did not set off the alarms when she tiptoed into the Rubin, in the Chelsea neighborhood of Manhattan, and the 12 hours that followed were nothing like “Night at the Museum,” the 2006 comedy that starred Ben Stiller as a new guard coping with fossils gone wild at a more famous and more established museum uptown.

Ms. Howard, 45, had paid $55 to sleep on a gallery floor alongside 80 others who had brought their own pillows, blankets and toothbrushes for what the Rubin had advertised as a “Dream-Over.” The Rubin even had “dream interpreters” — psychologists and psychiatrists led by Edward Nersessian, a professor from Weill Cornell Medical College — to wake them in the morning and take notes on their dreams. Or, at least, what they could remember of them. Continue reading

Taking the Protests to the Art World

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The Occupy Wall Street movement took on the art world, sort of, this week, with a splinter group, Occupy Museums. Convened on Thursday evening through a Facebook, Twitter and Tumblr posts, about 20 people made their way from the Museum of Modern Art to the New Museum to a downtown gallery, protesting what they say is the conflation of art and commerce, the snobbery of the art market and high ticket prices at museums, which they called the “temples of the cultural elite.”

Outside the New Museum they chanted: “Museums, open your minds and your hearts, and listen. Art is for everyone! The people are at your door.” Standing in a circle on the sidewalk, they used the call-and-repeat system known as the people’s mic, which has become a hallmark of the movement. The people’s mic is an “art form,” Noah Fischer, an artist and organizer of Occupy Museums, said later, promising that it was only the first new artistic tool to emerge from the protests. “I thing art is going a change from this movement,” he said, “because it’s going to unstick the current paradigm, which is based on money.” Continue reading

Edwina Sandys ART: New Book Reveals Powerful Images on Diverse Subjects

Edwina Sandys, the renowned British-born artist and author, granddaughter of Winston Churchill, launched her retrospective book, Edwina Sandys ART. Hosting a party of friends and art critics at the loft where she lives with her architect husband, Richard Kaplan, a hundred friends crowded into the large studio space for the book signing and cocktail party. The bright red entrance hall is hung with Edwina’s colorful Matisse-like, poppy red and white silk screen prints on paper from the Yin Yang series. Six large Frolics, painted aluminum sculptures, guard the entrance to the loft. Continue reading

Collectively finding home a project for a thousand people

A thousand people ‘trying to find their way home’ on a saturday night were attempting to be a part of The okcollectives’ project. Unknown to the participants they were performing a ritualistic trample to the trains that forces the actors in this scene to cross over social boundaries not usually crossed. Their attempt to get home fraught with train timetables, squashed carriages, barriers bridges and team allegiances. Viva Saturday night.

 

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Artist Known for Destroying Finds Kindness

[MOMENT] Kaldor Public Art Project

On show until Oct. 23, Acts of Kindness is the 24th public art work facilitated by the Kaldor Public Art Project, a charitable organization established by Australian art collector John Kaldor that’s best known for bringing out Christo and Jeane-Claude to wrap Sydney’s Little Bay for the Wrapped Coast project in 1969.

The works of U.K. artist Michael Landy have often focused on destruction. He became famous in 2001 for systematically obliterating all of his personal belongings in a former department store in London’s Oxford Street for a performance installation called Break Down. For Art Bin last year, he invited artists and members of the public to dispose of works of art.

By contrast, his latest work explores the constructive nature of everyday gestures of kindness and compassion. Landy, 48, has collected stories of kindness from people across Sydney to form the basis for an installation in the central business district that’s part of the city’s annual Art & About festival. Michael Landy’s Acts of Kindness was a team effort. Workers prepare the puzzle pieces to be displayed. Continue reading

‘The Matter Within: New Contemporary Art of India’

Rina Banerjee’s “Tender was her wound, pink and playful was her mood.” (Edward Nahem)

The Matter Within: New Contemporary Art of India: Through Jan. 29. Yerba Buena Center for the Arts, 701 Mission St., San Francisco. $7, free for members. (415) 978-2787, www.ybca.org.

One sculptor, New Delhi’s Anita Dube, fashioned the word “Love” out of candles. Another, New York’s Rina Banerjee, works in tortoise shells, beads and parasols. Bangalore-born photographer Pushpamala N. borrows a page from Cindy Sherman by posing in native garb and guises to cast fresh light on the so-called “native types” of India.

All are part of an ambitiously disparate show, “The Matter Within: New Contemporary Art of India,” that opened this weekend at the Yerba Buena Center for the Arts. It was timed to coordinate with and complement the Asian Art Museum’s “Maharaja: The Splendor of India’s Royal Courts,” which premieres Friday.

YBCA’s director of visual arts, Betti-Sue Hertz, spent 2 1/2 weeks in India last fall, visiting artists, gallerists, art historians and curators in New Delhi, Bangalore and Mumbai. Dazzled by the contemporary art scene there and in the Indian diaspora, Hertz decided to restrict her focus to photography, sculpture and single-channel video. Contemporary Indian painting, she said, has been well represented in other exhibitions. Continue reading

Creative Time’s ‘Living as Form’

A view of “Living as Form” in the historic Essex Street Market. (all photos by the author)

What is the connection between art and social change? According to the received wisdom, art means an aesthetic object. Sometimes it also means a performance or an action — but then, it’s always an artificial one. Art is a deed staged not to accomplish a social or political goal but as an end in itself. Yes, an act could be art, but what about activism?

Creative Time is a visionary public art organization has built a program on challenging the definitions of art and muddying accepted categories. In addition to mounting inventive interventionist projects, such as Paul Chan’s “Waiting for Godot” in New Orleans after Hurricane Katrina, Creative Time also gives out the annual Leonore Annenberg Prize for Art and Social Change. The $25,000 award honors “an artist who has committed his or her life’s work to promoting social justice in surprising and profound ways.” The first recipients, in 2009, were the Yes Men, an artist-activist (artivist?) pair that goes around impersonating greedy corporate leaders in order to publicly shame them.Would I call the Yes Men’s interventions art? (No.) Did it matter? (No.) Here, Creative Time asserted, were art and activism together. It was possible to do and be both. Maybe we needn’t adhere to definitions — or, more than that, maybe definitions are malleable.

Continue reading

Artists’ Magazines An Alternative Space for Art

Artists' magazines : an alternative space for art

Artists’ Magazines An Alternative Space for Art
March 2011
7.5×10, 300 pp., 125 color illus.
$34.95/£24.95 (CLOTH)
Trade

ISBN-10:
0-262-01519-6
ISBN-13:
978-0-262-01519-6

Gwen Allen

Magazine publishing is an exercise in ephemerality and transience; each issue goes out in the world only to be rendered obsolete by the next. To publish a magazine is to enter into a heightened relationship with the present moment. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists’ Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others. Continue reading

But is it art? Brooklyn artist plans to give birth in gallery

Pregnant Performance Artist Plans Gallery Birth

“The Birth of Baby X” is an exhibit by artist Marni Kotak at the Microscope Gallery in Bushwick, Brooklyn.

A performance artist  is planning a month-long piece on her pregnancy that she hopes will end with her delivering the baby before an audience at a Brooklyn art gallery.

 ”The Birth of Baby X” is an exhibit from Brooklyn artist Marni Kotak, and she is setting up a birthing room at the Microscope Gallery in Bushwick, equipped with a bed, an inflatable birthing pool, a shower and a rocking chair.
With the baby’s due-date uncertain, the gallery is putting together a list of visitors to notify when she goes into labor. Kotak will be surrounded by an audience, but will also be supported by a midwife, a doula, and her husband, according to the New York Post. She told the paper that she sees human life as “the most profound work of art,” and she is “no more worried than I would be if I were having the baby at home or in a hospital.” Continue reading

Art world fears “big chill” as Frieze Week begins

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Will Chinese buyers ride to the rescue? Will the super-rich decide painting and sculpture is a better investment than volatile stocks or risky debt?

Those are the big questions on the art world’s lips as hundreds of galleries and collectors descend on London for the annual post-war and contemporary frenzy centred around the October 13-16 Frieze Art Fair in Regent’s Park.

The annual event held in a giant marquee has quickly become a key date for anyone wanting to acquire top works by modern and living painters. It has spawned a merry-go-round of auctions, rival fairs like the Pavilion of Art & Design PAD.L, major exhibitions, gallery openings including a new White Cube space and, of course, endless glitzy, champagne-fuelled parties.

But after two years of strong growth in prices, particularly for top artists, global financial turmoil once again threatens to bring the chill of uncertainty to the week as it did in the wake of the 2008 Lehman Brothers collapse.

Matthew Slotover, co-founder of Frieze who is considered one of the art world’s most powerful figures, conceded that concerns over slow economic growth and Europe’s debt crisis could weigh on the fair. But he, like many others, argued that investors may prefer to put their money into a painting than a paper asset. Continue reading

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