#artselfie heaven: Who needs a filter when you have Yayoi Kusama?
Took the interns to preview the artist’s new show at David Zwirner, where the concept of infinity and beyond becomes a lot more literal.
We chased our reflections in Love Is Calling, a candy-colored concoction of mirrors, metal, sound, light, and more.
Infinity Mirrored Room - The Souls of Millions of Light Years Away, is Kusama’s newest infinity room. We entered in small groups, and the door closed behind us. Then we were captured in a sea of L.E.D. lights, and a carousel of time.
Optical Allusions: Modernist Art Refracted Though Iran’s Mirrored Shrines
In a hybrid language where East meets West, and Pop and Op come filtered through the sublime patterns of the mirrored glass shrines of Shiraz, Monir Shahroudy Farmanfarmaian creates her dazzling refractions.
The artist, now living in her native Iran after years in the States, took classes at Cornell and Parsons, befriended the Abstract Expressionists, studied with Milton Avery, and collaborated with Warhol.
Seeing the Shah Cheragh Shrine in Shiraz, which she visited with Robert Morris and Marcia Hafif in 1966, was transformative for Farmanfarmaian. A champion and collector of local fok art, she forged a personal language that infuses traditional forms of reverse-glass painting with geometric and gestural abstraction.
Now around 90, Farmanfarmaian maintains an active career. A show of her recent work just opened at Haines Gallery in San Francisco. She also has five pieces in Iran Modern, at the Asia Society in New York. One is a small mirror she exchanged as a gift with Andy Warhol.
Read more in “Ten Tough Women Artists Who Stand Up to the Bad Boys,” at artnews.com.
From Top: Monir Shahroudy Farmanfarmaian, Untitled, 1977, mirror, reverse-glass painting and plaster on wood. COURTESY ZAHRA FARMANFARMAIAN. PHOTO JOSHUA SAGE. Monir Shahroudy Farmanfarmaian, Untitled, ca. 1975–1976, mirror, reverse-glass painting, plaster, and wood. PRIVATE COLLECTION.
The Body Electric
The show, organized by Elena Filipovic, brings together four postwar artists who probably didn’t know each other, or even of each other, but were united by a sensibility that draws equally on attraction and repulsion.
Szapocznikow, Tetsumi Kudo (from Japan), and Americans Paul Thek and Hannah Wilke rejected the reductive, arch sensibilities of Minimalism and Pop for a deliberately anti-heroic sculpture, abject and visceral, that was crafted with new, experimental materials and infused with sexual candor and dismembered body parts.
(From Top): Alina Szapocznikow, Lampe-sculpture, ca. 1970, tinted polyester resin, light bubble and power supply cable. ©THE ESTATE OF ALINA SZAPOCZNIKOW – ADAGP PARIS. Hannah Wilke, Untitled, ca. 1960s, painted terracotta. HANNAH WILKE COLLECTION & ARCHIVE, LOS ANGELES. ©MARSIE, EMANUELLE, DAMON, AND ANDREW SCHARLATT/LICENSED BY VAGA, NEW YORK, NY. Paul Thek, Untitled (Dental Plate #3) from the series Technological Reliquaries, 1966-67, wood, plaster, paint, porcelain, and Plexiglas. ©ESTATE OF GEORGE PAUL THEK. Tetsumi Kudo, Your Portrait, 1963, mixed media (wood, plastic). ©ADAGP, PARIS & ARS, NEW YORK. COURTESY OF HIROKO KUDO.
All By Her Selves
Eleanor Antin, the shape-shifting artist who helped bring narrative and fantasy to performance, is in the spotlight this season, along with an entourage of her alter-egos. At Columbia University’s Miriam and Ira D. Wallach Art Gallery, “Multiple Occupancy: Eleanor Antin’s ‘Selves’” surveys various identities—including a deposed king, ballerinas, nurses and an exiled film director—that the artist created and embodied between 1972 and 1991. As Antin put it, “I consider the usual aids to self-definition—sex, age, talent, time and space—as tyrannical limitations upon my freedom of choice.”
On November 9, as part of Performa, the performance art biennial, the Wallach presents “An Afternoon with Eleanora Antinova (a.k.a. Eleanor Antin).” The artist will read and discuss excerpts, some unpublished, from the memoirs of her invented character Eleanora Antinova, the long-suffering African American ballerina of Diaghilev’s Ballets Russes. On November 12, Antin will appear in conversation at Performa with her sometime collaborators, Malik Gaines and Alexandro Segade, members of the collective My Barbarian. They’ll chat about the theatrical devices performance artists rely on to twist and transform identities.
Read more in “Ten Tough Women Artists Who Stand Up to the Bad Boys,” at artnews.com
(From Top): Elenor Antin, Nurse Eleanor, R.N., 1976/2007 (detail), iris print with business card. COURTESY THE ARTIST AND RONALD FELDMAN FINE ARTS. Elenor Antin, “Men” from The King of Solana Beach, 1974-1975 (detail), five black and white photographs mounted on board. COURTESY THE ARTIST AND RONALD FELDMAN FINE ARTS. Elenor Antin, The Two Eleanors, 1973, black and white photograph mounted on board. PRIVATE COLLECTION.
The fall lineup–Balthus at the Met, Magritte at MoMA, Chris Burden at the New Museum, Robert Indiana at the Whitney, Robert Motherwell at the Guggenheim, and Mike Kelley at MoMA PS1–makes it seem as though the bad boys are not the artists, but the people who program the city’s art museums with a depressing consistency of race and gender.
There’s some good news, though. Women might be finally getting credit for cave painting, for one thing. Also, the feminist sensibility is alive and well in other art venues, if you know where to look.
Here are two examples: Wangechi Mutu, whose show Fantastic Journey is at at the Brooklyn Museum, and Renaissance painter Artemisia Gentileschi, whose most violent and famous painting, Judith Slaying Holofernes (ca. 1620), is on loan from the Uffizi to the Art Institute of Chicago.
Meet the rest of the “Ten Tough Women Artists Who Stand Up to the Bad Boys” at artnews.com
Adrian Piper Pulls Out of Black Performance-Art Show
Venerable Conceptual artist requested that footage of her iconic “Mythic Being” performance be removed from “Radical Presence” at NYU’s Grey Art Gallery, asserting it marginalizes African American artists.
In depriving students and the larger public from seeing her work at the Grey, the artist, who currently lives in Berlin and runs a foundation dedicated to art, philosophy, and yoga, has chosen to make a larger point about marginalization and otherness, themes that have dominated her work throughout her career.
The question is whether separate exhibitions are still needed to tell the stories that were left out and continue to be absent from conventional tellings of art history, or whether creating these separate spaces amounts to a kind of ghettoization that prevents the artwork from being considered on the larger stage.
Read more at artnews.com
Adrian Piper, I am the Locus (#1-5), 1975, oil crayon drawing on photograph. ALL IMAGES COURTESY SMART MUSEUM OF ART, THE UNIVERSITY OF CHICAGO, PURCHASE, GIFT OF CARL RUNGIUS, BY EXCHANGE, 2001.126a.
The Amon Carter Museum of American Art in Fort Worth is throwing a party for Mexico’s great artist José Guadalupe Posada, celebrating the 100th anniversary of his death with a show featuring more than 50 of his estimated 15,000 prints documenting Mexican life. “¡Hombre! Prints by José Guadalupe Posada" includes images of outlaws, fugitives, demons, lovers, politicians, and the famous Calaveras.
From top: José Guadalupe Posada, Aventuras del Príncipe Flor de Nopal o la gratitud de un amigo, 1900, chromolithograph. José Guadalupe Posada, La calavera Oaxaqueña calavera del montón. Número 1, no date, relief print. José Guadalupe Posada, Cat Calavera, no date, relief print. José Guadalupe Posada, Calavera de un lagartijo, no date, relief print. All images courtesy Amon Carter Museum of American Art, Fort Worth, Texas.
The Coolest Cats in the Art World:
“Like his Pepto-Bismol-hued alter ego, the Pink Panther (a perfect embodiment of the Norwegian’s ongoing berzerking of aesthetic cancellation),” as the press release memorably puts it, “ Melgaard is simultaneously the fearsome predator and also the uncool loser.”
Jerry Saltz recently singled out the show as an example of what happens when bad-boy art goes right.
“The mise-en-scène is some sex club for night hunters, fashion freaks, and those with toxic blood or addictions to kitsch,” he wrote. In a good way.
Courtesy Gavin Brown.
Funny you don’t look Bluish:
William Pope L’s ‘Skin Set’ drawings, 2010-2013, at Mitchell-Innes & Nash
Courtesy Mitchell-Innes & Nash