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New 235 Bowery New York Ny 10002 Usa Museum VOL VOL. 14 PAPERSPRING/SUMMER 2013 NEW 235 BOWERY NEW YORK NY 10002 USA MUSEUM VOL. 14 | PAPER Director’s Letter he New Museum has always been a forward-looking institution. We These two programs—Seven on Seven and IDEAS CITY—are em- support artists who are responding to a changing world and envi- blematic of the way the Museum is bringing cross-disciplinary commu- sioningT the future. We also continue to probe the possibilities of how mu- nities together to cultivate new art and new ideas. The New Museum is seums can evolve to serve the demands of new audiences in a dramatically a true cultural center and incubator that extends way beyond bricks and shifting world. How can we continue to be vital community hubs, vibrant mortar through our web programs, festivals, think tanks, and residencies. education centers, catalysts for invention, and providers of transforma- As we embrace the present and look toward the future, sometimes tive experiences? we look back to better understand the present. Our current exhibition, In recent weeks, we have demonstrated how far the Museum stretches “NYC 1993: Experimental Jet Set, Trash and No Star” reviews a year to advance our mission and think towards the future. First, Rhizome's in New York twenty years ago, a time with incredible resonance today. It Seven on Seven Conference—where top technologists are paired with has attracted a big audience, press attention, and most importantly, a lot leading artists to create new works in twenty-four hours—was a stunning of conversation. I hope you all have the opportunity to see the exhibition example of how the Museum brings diverse talent together to share ideas before it closes on May 26! Following 1993, we have two solo exhibitions: and generate new works. This was followed by IDEAS CITY, our bien- one on the work of West Coast maverick Llyn Foulkes, who has yet to nial Festival that is a major collaborative initiative involving hundreds of have a museum exhibition in New York, and whose work will be a sur- cultural, educational, and community organizations working together to prise to East Coast audiences. This will run concurrently with a major effect change in cities. The Festival was anchored by a major conference presentation of the work of Ellen Gallagher, an artist at mid-career who of international thought leaders, followed by participatory workshops, an has been very influential in the years since 1993. This fall, the Museum innovative StreetFest, and over one hundred independent projects and will also present the first solo museum exhibition of another West Coast public events, including “Adhocracy,” an exhibition presented at Studio titan, Chris Burden. 231 that addresses the theme for this year: Untapped Capital. We have None of these great programs would be possible without the support also expanded the initiative internationally with a conference in Istanbul of our Members. We thank you for encouraging us to continue to probe, last October and one planned for São Paulo this fall and other cities in reinvent, and reimagine what the museum and the museum experience subsequent years. can be. The New Museum strongly believes that the cultural community is I hope to see many of you in Venice for the 55th Venice Biennale. We essential to the vitality of the future city. We also believe that the cul- congratulate Massimiliano Gioni, our Associate Director and Director tural sphere is still a relatively untapped source of very powerful creative of Exhibitions at the New Museum, on his appointment as the youngest capital, especially in its ability to foster greater innovation in other fields Artistic Director in the Biennale’s history, and we look forward to seeing and stimulate economic development. IDEAS CITY is an unprecedent- him spin his magic with great pride and anticipation. ed step in expanding both our institution's mission and its potential as a community hub, drawing the creative population together as agents for change. Lisa Phillips Toby Devan Lewis Director Photo: Lina Bertucci 02 | NEW MUSEUM CONTENTS Table of Contents Last Chance! CLOSING MAY 26, 2013 04 NYC 1993: Ellen Gallagher: Don't Axe Me Experimental Jet Set, Trash and No Star 06 Llyn FoulKes 07 Erika Vogt: Stranger Debris Roll Roll Roll 08 Museum as Hub & XFR STN 09 Adhocracy 10 IDEAS CITY 12 Public Programs Photo: Benoit Pailley 14 Rhizome “ New Museum show makes the argument that the innocuous- seeming, which-year-was-that-again? year, may, in fact, have 15 changedA absolutely everything.” Store CARL SWANSON, NEW YORK MAGAZINE 16 “ he show offers a happy dose of nostalgia porn for some, or an Events unhappy reminder that the world hasn’t changed as much as we Tmay have hoped in the last 20 years. Either way, it is meant to take the 18 viewer back in time, and whether you were 25 or 5, if you were alive in that time and place in history, you will certainly feel something.” Membership ALANNA MARTINEZ, ARTINFO 19 Thank You EXHIBITION SUPPORT Support for the exhibition is provided by the Horace The accompanying exhibition publication is W. Goldsmith Foundation. made possible by the J. McSweeney and G. Mills Publications Fund at the New Museum. COVER Additional funding is provided by Martin and Rebecca Ellen Gallagher, Untitled, 2012. Oil, ink, and paper on Eisenberg, the Fundación Almine y Bernard Ruiz- canvas, 24 x 24 in (61 x 61 cm). Courtesy the artist Picasso para el Arte, and the Robert Mapplethorpe and Hauser & Wirth Gallery, Zurich/London/New York. Photography Fund. © Ellen Gallagher The New Museum is located General Admission: $14 Wednesday: 11 AM–6 PM Subway: 6 to Spring Street For more information and at 235 Bowery Seniors: $12 Thursday: 11 AM–9 PM or N or R to Prince Street. detailed directions, Students: $10 Friday, Saturday, and please visit (at Prince Street between Under 18: FREE Sunday: 11 AM–6 PM Bus: M103 to Prince and newmuseum.org/visit. Stanton and Rivington Streets, Members: FREE Monday and Tuesday: CLOSED Bowery or M6 to Broadway two blocks south of Houston and Prince. tel. 212.219.1222 S tr e e t). Free Thursday Evenings fax. 212.431.5328 from 7–9 PM newmuseum.org SPRING/SUMMER 2013 | 03 UPCOMING EXHIBITIONS VOL. 14 | PAPER Ellen Gallagher: JUNE 19–SEPTEMBER 15, 2013 Don't Axe Me THIRD & FOURTH FLOORS his summer, the New Museum will present the first ma- The exhibition highlights the humor, historical depth, jor New York museum exhibition of the work of artist psychological complexity, and formal inventiveness inherent EllenT Gallagher. Spanning the past twenty years, “Don’t Axe in Gallagher’s rich oeuvre. “Don’t Axe Me” will be on view in Me” will provide the opportunity to thoroughly examine the the New Museum’s third- and fourth-floor galleries from June complex formal and thematic concerns of one of the most sig- 19–September 15, 2013, and is organized by Gary Carrion- nificant artists to emerge since the mid-1990s. The title of the Murayari, Curator. exhibition, “Don’t Axe Me,” evokes her radical approach to Ellen Gallagher (b. 1965 Providence, RI) attended Oberlin image, text, and surface—drawing equally from modernism, College; SEA (Sea Education Association), Woods Hole, MA; mass culture, and social history. This focused survey at the Studio 70, Fort Thomas, KY; School of the Museum of Fine New Museum will run concurrently with Gallagher’s exhibi- Arts, Boston; and Skowhegan School of Art, ME. Gallagher tion at the Tate Modern, London (May 2013). has had solo exhibitions and projects at a number of interna- Over the past two decades, Gallagher has created a subtle tional institutions including the Institute of Contemporary and diverse body of work exploring notions of materiality, Art, Boston (2001), Des Moines Art Center (2001), the history, and language. In her early paintings, Gallagher dis- Drawing Center, New York (2002), the Whitney Museum of persed fields of repeated bulging lips and eyes—borrowed American Art (2005), the Freud Museum, London (2005), from the imagery of minstrel performances—on grid-like Tate Liverpool (2007), and South London Gallery (2009). backgrounds of penmanship paper. In constructing these She has participated in a number of major group exhibitions works, which hover between drawing and painting, Gallagher including the 1995 and 2010 Whitney Biennials, SITE Santa inserted charged images into the language of modernist Fe’s Fifth International Biennial (2004), and “La Triennale” painting. She would continue to incorporate historical mate- at the Palais de Tokyo (2012). Gallagher lives and works in rial in subsequent works—most famously using mid-century Rotterdam, the Netherlands, and New York. Ellen Gallagher & Edgar Cleijne, Osedax, 2010 (still). Film installation with inscribed box, bench, 16mm advertisements for African-American beauty products from projection, two slide projectors, a six-part print Ebony magazine and other publications from the same period, edition, 96 1/8 x 177 1/8 x 196 7/8 in (244 x 450 x 500 cm). Courtesy the artist and Hauser & Wirth abstracting the portraits of female wig models and their cap- Gallery, Zurich/London/New York tions with stylized layers of yellow Plasticine, dabs of oil paint, pencil marks, and incisions directly into the paper. Gallagher’s formal processes exemplify the visual and linguistic transfor- mation and historical reimagining that has defined her work ever since. These fragments continue to appear excised from their original context and subsumed into the rich layers of her paintings and drawings. Gallagher’s visual cosmology has also continued to expand since the 1990s, including images and references to figures as diverse as writers Gertrude Stein and Herman Melville, the musician Sun Ra, Freud, and historical figures such as Eunice Rivers and Peg Leg Bates.
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