Page 1 # 303 Gallery Kim Gordon: the Bonfire 10
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Omer Fast: Nostalgia
Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Stephen Soba New York, NY 10021 Molly Gross whitney.org/press Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] NOSTALGIA, BY BUCKSBAUM AWARD-WINNER OMER FAST, RECEIVES NEW YORK DEBUT AT THE WHITNEY Nostalgia III (production still), 2009 Super 16mm film transferred to high-definition video, color, sound; 32:48 minutes Photograph by Thierry Bal; courtesy gb agency, Paris; Postmasters, New York; and Arratia, Beer, Berlin. NEW YORK, November 18, 2009 – Omer Fast: Nostalgia is a new three-part film and video installation that continues Fast's fascination with exploring configurations of fact and fiction through narrative and filmic constructions, intertwining modes of documentary and dramatization. In this exhibition, organized by Tina Kukielski, senior curatorial assistant, the work receives its New York debut at the Whitney Museum of American Art, where it will be seen from December 10, 2009, through February 14, 2010. It is presented as part of the 2008 Bucksbaum Award, conferred on Fast for significant contributions to the visual arts in the United States. Endowed by Whitney Trustee Melva Bucksbaum and her family, the Bucksbaum Award is given every two years to an artist chosen from the Museum’s Biennial exhibition. (The next recipient will be selected from among the artists in the 2010 Whitney Biennial, which opens to the public on February 25.) Nostalgia (2009) begins with a fragment from an interview between the artist and an African refugee seeking asylum in London, during which the artist/interviewer is told how the refugee built a trap for catching a partridge back home in his native Nigeria. -
Giacometti Retrospective to Be Held at New York's Acquavella Galleries Inc
ARCHIVE ACQUAVELLA GALLERIES Giacometti retrospective to be held at New York's Acquavella Galleries Inc. Acquavella's good name has guaranteed the participation of several distinguished lenders JASON EDWARD KAUFMAN 1st November 1994 01:00 BST Acquavella Galleries Inc. are presenting a museum-quality retrospective of seventy-three works by Alberto Giacometti. The exhibition, until 10 December, comprises sixty-three sculptures and ten paintings dating from the early 1920s until 1965, the year before the artist’s death. The collection includes signature works such as “Woman with her Throat Cut”, “The Invisible Object (Hands Holding the Void)’, “The Pointing Man”, “The Walking Man’, “The Nose”, “The Hand, The Chariot”, and five of “The Women of Venice”. The range of museum, dealer, and private loans from here and abroad attest to Mr Acquavella’s daunting reputation, a presence fortified by his 1989 acquisition in partnership with Sotheby’s of the Pierre Matisse estate, the source for a number of the exhibited works. Gallery exhibitions of Giacometti have not been wanting in Manhattan. Larry Gagosian had twenty-one works in a career-spanning show last year, and this summer Chozo Yoshii assembled fifteen, pre-1930 pieces, along with the artist’s “Tentative Catalogue of Early Works” and famous letter to Pierre Matisse. New York museums have been less attentive to the Swiss- born master; the last retrospectives were held at the Guggenheim twenty- one years ago, and at the Museum of Modern Art in 1965. (Major shows mounted by the Hirshhorn (1988-89) and the Museum of Modern in Paris (1991-92) did not travel.) The Acquavella catalogue contains essays by Giacometti biographer James Lord and former critic for the New York Times, Michael Brenson. -
Your Family's Guide to Explore NYC for FREE with Your Cool Culture Pass
coolculture.org FAMILY2019-2020 GUIDE Your family’s guide to explore NYC for FREE with your Cool Culture Pass. Cool Culture | 2019-2020 Family Guide | coolculture.org WELCOME TO COOL CULTURE! Whether you are a returning family or brand new to Cool Culture, we welcome you to a new year of family fun, cultural exploration and creativity. As the Executive Director of Cool Culture, I am excited to have your family become a part of ours. Founded in 1999, Cool Culture is a non-profit organization with a mission to amplify the voices of families and strengthen the power of historically marginalized communities through engagement with art and culture, both within cultural institutions and beyond. To that end, we have partnered with your child’s school to give your family FREE admission to almost 90 New York City museums, historic societies, gardens and zoos. As your child’s first teacher and advocate, we hope you find this guide useful in adding to the joy, community, and culture that are part of your family traditions! Candice Anderson Executive Director Cool Culture 2020 Cool Culture | 2019-2020 Family Guide | coolculture.org HOW TO USE YOUR COOL CULTURE FAMILY PASS You + 4 = FREE Extras Are Extra Up to 5 people, including you, will be The Family Pass covers general admission. granted free admission with a Cool Culture You may need to pay extra fees for special Family Pass to approximately 90 museums, exhibits and activities. Please call the $ $ zoos and historic sites. museum if you’re unsure. $ More than 5 people total? Be prepared to It’s For Families pay additional admission fees. -
Your Concise New York Art Guide for Spring 2018
Your Concise New York Art Guide for Spring 2018 February 28, 2018 Events Your list of 45 must-see, fun, insightful, and very New York art events this season. Leonard Fink, “Self-Portrait on Pier 46 (“This is Serious Too”)” (1979), silver gelatin print, 8 x 10 in (collection and © of the LGBT Community Center National History Archive) We’re back with our yearly spring guide of must-see, fun, insightful, and very New York art events. From museum shows to air fairs to film festivals, you’ll have plenty to keep you busy with this season. Please note that some of the exhibitions listed here opened in January and February, but lucky for us they continue through the spring. January The Beautiful Brain: The Drawings of Santiago Ramon y Cajal and Baya: Woman of Algiers When: January 9–March 31 Where: Grey Art Gallery (100 Washington Square East, Greenwich Village, Manhattan) The Grey Art Gallery is putting on two fascinating and very distinct exhibitions this season. One displays neuroscientist Santiago Ramon y Cajal’s drawings of the brain, which are not only beautiful but remarkably clear and accurate. Eighty of his drawings, which date to the late 19th and early 20th centuries, will be shown alongside contemporary visualizations of the brain. The gallery’s second exhibition is devoted to Baya Mahieddine (known as Baya), an Algerian artist who has yet to gain international recognition. Her vibrant, patterned gouaches Baya, “Femme et enfant en bleu (Woman and child in blue)” (1947) and ceramics drew the attention gouache on board, 22 3/4 x 17 7/8 in (Collection Isabelle Maeght, Paris © of André Breton, Henri Matisse, Photo Galerie Maeght, Paris) and Pablo Picasso. -
Too Cool—Families Catch the Cool!
2010 SPRING Cool Culture® provides 50,000 underserved families with free, unlimited sponsored by JAQUELINE KENNEDY access to ONASSIS 90 cultural institutionsRESEVOIR - so that parents can provide their children withCENTRAL PARK 80 Hanson Place, Suite 604, Brooklyn, NY 11217 www.coolculture.org educational experiences that will help them succeed in school and life. CENTRAL PARK HARLEM MEER Malky, Simcha, Stanley and Avi Mayerfeld. Fi e tzpa t trick t . Vaness e a Griffi v th and Ys Y abe l Fitzpat FIFTH AVENUE d rick. n a o FIFTH AVENUE i g r e S , a n i t n e g r A Isabella, Sophia and Ethel Zaldaña 108TH ST 107TH ST 106TH ST 103RD ST 105TH ST 102ND ST 104TH ST 101ST ST 100TH ST 99TH ST 98TH ST 97TH ST 96TH ST 95TH ST 94TH ST 93RD ST 92ND ST 91ST ST 90TH ST 89TH ST 88TH ST 87TH ST 86TH ST 85TH ST 84TH ST 83RD ST 82ND ST 81ST ST Felicia and Omaria Williams F e l ic ia a nd he t C C O o o m o a h ri W o To ol— illiams atc l! Families C The Cool Culture community couldn't choose just one. “I really liked came together to Catch the Cool on making stuff and meeting my friend and June 8th at the Museum Mile getting a poster by (artist) Michael Albert,” she said. The siblings – along with Festival! Thousands painted, drew, their sister Ysabel (one), mom Yvette and aunt danced and partied on Fifth Avenue from Vanessa Griffith– participated in art activities 105th Street to 82nd Street, dropping in that included crafting monkey ears at The museums along the way. -
NYC Student Discounts
NYC Student Discounts The Chamber Music Society of Lincoln Center Alice Tully Hall (Broadway at 65th Street)/ Daniel and Joanna S. Rose Studio (165 West 65th Street between Broadway and Amsterdam) The Chamber Music Society of Lincoln Center (CMS) presents an annual series of concerts. Students may purchase tickets at a 50% discount in advance at the Alice Tully Hall box Office, pending availability. Student rush tickets are $10 on the day of the performance, pending availability. Present a valid student ID beginning one hour prior to curtain for two $10 tickets. https://www.chambermusicsociety.org/nyc/ticketing-information/student-tickets/ Jazz at Lincoln Center Rose Theater, The Allen Room, Dizzy’s Club Coca-Cola at Frederick P. Rose Hall, Home of Jazz at Lincoln Center (Broadway at 60th Street) Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. Fill out the online registration form and submit a copy of your student ID to [email protected]. Be sure to include your expected month and year of graduation in the email. Please note that for Dizzy's Club Coca-Cola reservations, you will need to create a new account separate from your student account when making your reservation. The student rate varies by performance and will be listed on the specific event page. Once your reservation is made, a student ID is required to be shown upon arrival at the res- ervation desk. http://www.jazz.org/students/ New York City Ballet David H. Koch Theater (Columbus Avenue at 63rd Street) New York City Ballet is one of the foremost dance companies in the world, with a roster of nearly 100 spectacular dancers, a 62-piece orchestra, and a repertory of modern masterpieces. -
Manhattan Retail Market MID-2ND QUARTER 2016 REPORT Retail Activity in the News
Manhattan Retail Market MID-2ND QUARTER 2016 REPORT Retail Activity In The News Virtual Restaurant Business Revolutionizing Traditional Food Delivery The growing convenience of home food delivery through services such as Seamless and GrubHub has prompted the launch of what can be best described as “virtual restaurants.” One company Green Summit Group currently operates 2-kitchens and boasts 8 “restaurant” brands, yet is void of any storefronts. The business model is banking on the projection that most New York City dwellers won’t care or realize that the food is not being prepared in a traditional restaurant. Green Summit has eliminated the burden of managing retail spaces, while also further benef ting from its ability to shift menu items more quickly to cater to the fast-evolving preferences of consumers by creating another online-branded “restaurant” that appeals to the f avor of the moment. If a particular brand does not meet f nancial expectations it is easily scrapped, incurring a relatively low cost of failure. Currently in expansion mode, in addition to existing kitchens in Midtown and Williamsburg, Brooklyn, the Green Summit plans to open 4 additional kitchens in the Financial District, Downtown Brooklyn, the Upper East Side, and the East Village in 2016 in order to be within delivery range of 90% of New York’s online food-ordering population according to the company’s projections. Generating about $10 million in revenue in 2015, expansion plans are reportedly expected to triple revenue in 2016. Success of the company launched about 2 and a-half years ago may be short-lived in the opinion of some skeptics of the virtual model, pointing out that consumers want to engage with the restaurant brand. -
ART + AUCTION 'Power Issue', December 2015
ART + AUCTION 'Power Issue', December 2015 The bios and essays in Art+Auction’s guide to notable players in the art world will be rolled out on ARTINFO over the course of the next two weeks. Here, we present Part Three. Click here for an introduction to the entire series. Click here for previously published installments. Check back daily for new articles. Magnus Renfrew * Auctioneer In July 2014, Renfrew took the title deputy chairman and director of fine arts in Hong Kong for Bonhams, the house for which he initiated sales of contemporary Chinese art in 2006. In the interim he served as the founding director of the Hong Kong International Art Fair (Art HK) and oversaw its development from 2007 to 2011, when it was acquired by MCH Group, parent company of Art Basel. He then directed the first two editions of Art Basel Hong Kong, in 2013 and 2014. In 2013 Renfrew was named a Young Global Leader by the World Economic Forum, and he has been instrumental in positioning Hong Kong as a center for modern and contemporary art in Asia. At Bonhams, Renfrew now draws on his deep knowledge of the gallery and collector network and the overall Asian market while overseeing regional business strategies as well as the Classical, modern, and contemporary Asian art departments. // AUCTION STRATEGIES M a g n u s R e n f r e w press archive 1 HONG KONG ECONOMIC JOURNAL 'How to trade the new golden age of art', 18 November 2015 The 2008 financial crisis prompted investors to include alternative investment in their portfolio to diversify risk. -
PALACE in PLUNDERLAND Claire Bishop on the Shed
SLANT PALACE IN PLUNDERLAND Claire Bishop on the Shed IT’S HARD THESE DAYS to stand out as a performance space in New York. Every arts venue in the city seems to be developing a hybrid visual art and performance pro- gram: the Whitney Museum of American Art, the New Museum, the Museum of Modern Art and moma ps1, the Park Avenue Armory, Performance Space New York. Even the Metropolitan Museum of Art has a performing arts series. So what’s a new cultural venue to do? One idea is to make it really, really big—say, two hundred thousand square feet. Another might be to hire Diller Scofidio + Renfro to design an eye-catching structure with some kind of unusual architectural feature—like a telescoping glass outer shell that can extend to cover the nearby plaza and provide another seventeen thousand square feet of climate-controlled performance space. Welcome to the Shed, due to open next spring in Hudson Yards on the west side of Manhattan. View of “Prelude to The Shed,” New York, May 13, 2018. Photo: Iwan Baan. A third strategy for making an entrance into this already saturated field is to commission a manifesto that provides a historical rationale for your presence. To this end, German art historian Dorothea von Hantelmann implicit social contract that the audience will show up tion conventions in three key ways. First, it will over- has penned the essay “What Is the New Ritual Space for at a specified time and place to attend a performance, a come the primacy of the visual to accommodate what the 21st Century?” Published in May as a booklet to church service, a political event, etc.); the term museum, von Hantelmann calls an “interplay of gatherings”—in accompany the venue’s two-week preopening program, by contrast, designates experiences structured around other words, the institution will also present music, von Hantelmann’s text, a reflection on communal spaces “opening hours” (the agora, the shopping mall, the poetry, dance, theater, and so on. -
COFA for 945 Madison Avenue, Manhattan Docket 03-6619
THE NEW YORK CITY LANDMARKS PRESERVATION COMMISSION 1 CENTRE STREET 9TH FLOOR NORTH NEW YORK NY 10007 TEL: 212 669-7700 FAX: 212 669-7780 PERMIT CERTIFICATE OF APPROPRIATENESS ISSUE DATE: EXPIRATION DATE: DOCKET #: COFA #: 07/16/2003 07/15/2009 03-6619 COFA 04-0359 ADDRESS BOROUGH: BLOCK/LOT: 945 MADISON AVENUE HISTORIC DISTRICT MANHATTAN 1389/50 UPPER EAST SIDE Display This Permit While Work Is In Progress ISSUED TO: Marvin Suchoff, CFO The Whitney Museum of American Art 945 Madison Avenue New York, NY 10021 Pursuant to Section 25-307 of the Administrative Code of the City of New York, the Landmarks Preservation Commission, at the Public Meeting of July 15, 2003 following the Public Hearing and Public Meeting of June 24, 2003, voted to grant a Certificate of Appropriateness for the proposed work at the subject premises, as put forward in your application completed on May 29, 2003. The proposal, as approved, consists of permanently retaining a 28 foot high banner pole featuring three vertical banners which was approved as a temporary installation at the south side of the entrance bridge on Madison Avenue pursuant to Certificate of No Effect 02-5040, as shown in existing condition photographs and an elevation drawing dated June 16, 2003, submitted as components of the application by Lucia Esposito, The Whitney Museum of American Art, and presented at the Public Hearing and Public Meetings. In reviewing this proposal, the Commission noted that the Upper East Side Historic District designation report describes 945 Madison Avenue as a Modern style museum building designed by Marcel Breuer & Associates and built in 1964-66; and that the building's style, scale, materials and details are among the features that contribute to the special architectural and historic character of the Upper East Side Historic District. -
Getting Site-Specific at the Met
4/4/2017 Getting Site-Specific at The Met | The Metropolitan Museum of Art Blogs / MetLiveArts Blog / Getting Site-Specific at The Met Getting Site-Specific at The Met March 25, 2016 Meryl Cates, Press Officer, MetLiveArts Members of David Dorfman Dance perform in the Sunken Garden at The Met Breuer as part of the new location's opening-day celebration. Photo by Stephanie Berger http://www.metmuseum.org/blogs/met-live-arts/2016/met-breuer-opening-day-performances-and-stockhausen-klang 1/6 4/4/2017 Getting Site-Specific at The Met | The Metropolitan Museum of Art The Met Breuer has been open just one week, and already several site-specific works have animated the iconic building on Madison Avenue at 75th Street. On the opening day, March 18, David Dorfman Dance led the way with an inspired performance created for the outdoor Sunken Garden. A buoyant work, the dancers commanded the space with arresting lifts that were creatively crafted using the building itself as support. Dorfman's choreography and the music by Ken Thomson and Friends was completely captivating, and offered a satisfying and unexpected intimacy—no small feat for such a large opening-day celebration. Audiences lined the Garden, windows, sidewalks—wherever there was a view—for each of the day's six performances. It is easy to romanticize The Met Breuer as an ideal location for site-specific live arts. The building boasts subtle details that continue to unfold and further reveal themselves, visit after visit. To see live arts staged with such beauty and nuance is an exciting sign of what's to come in future seasons. -
Yves Tanguy and Surrealism Jonathan Stuhlman
Navigating a Constantly Shifting Terrain: Yves Tanguy and Surrealism Jonathan Stuhlman Charlotte, NC B.A. Bowdoin College, 1996 M.A. School of the Art Institute of Chicago, 1998 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art History and Architecture University of Virginia December, 2013 ______________________________ ______________________________ ______________________________ ______________________________ II © Copyright by Jonathan Stuhlman All Rights Reserved December 2013 III Abstract: Yves Tanguy (1900-1955) was one of the first visual artists to join the Surrealist movement and was considered one of its core members for the majority of his career. He was also a close friend and longtime favorite of the movement’s leader, André Breton. Yet since his death, there has been surprisingly little written about his work that either adds to our understanding of why he remained in favor for so long and how he was able to do so. The aura of impenetrability that his paintings project, along with his consistent silence about them and a paucity of primary documents, has done much to limit the ways in which scholars, critics, and the public have been able (or willing) to engage with his work. As a result, Tanguy has been shuffled to the edges of recent developments in the critical discourse about Surrealism. This dissertation argues against the narrow, limited ways in which Tanguy’s art has been discussed most frequently in the past. Such interpretations, even those penned for exhibition catalogues and monographs supporting his work, have tended to be broad, diffuse, and biographically- and chronologically-driven rather than engaged with the works of art themselves and a critical analysis of the context in which they were created.