Niborama

letmypeopleshow: Word. Yoshitomo Nara at Pace Gallery on 25th...

Tue, 21 May 2013 09:30:18 -0400

letmypeopleshow:

Word. Yoshitomo Nara at Pace Gallery on 25th Street.

letmypeopleshow: The weird world of Mark Greenwold at...

Mon, 20 May 2013 09:30:28 -0400

letmypeopleshow:

The weird world of Mark Greenwold at #speronewestwater

letmypeopleshow: Somewhere over Gravity’s Rainbow: Drew...

Sun, 19 May 2013 09:30:11 -0400

letmypeopleshow:

Somewhere over Gravity’s Rainbow: Drew Heitzler at @mg_chelsea

letmypeopleshow: Let It Bleed: The Met’s New Rooftop...

Fri, 17 May 2013 09:30:29 -0400

letmypeopleshow:

Let It Bleed: The Met’s New Rooftop Painting

After the last two massive, vertiginous installations on the roof of the Metropolitan Museum of Art, which demanded able bodies and rubber soles, this summer there’s a finally a piece everyone can walk on.

But this one is scarier.

It’s a landscape painted in situ by Imran Qureshi, an artist from Pakistan. Playing off the setting above Central Park, he has rendered bursts of ornamental foliage, exuberant and elegant. They look like enormous details of the gardens in Mughal miniatures, an intricate genre he spent years mastering.

In this garden, though, something terrible has happened.

Switching from the elaborate detail of the Islamic miniature to the ritual dance of modernist action painting, Qureshi has splattered the roof in paint, blood-red like the leaves. It takes a moment to perceive the scope of the tragedy that may have unfolded in such a setting. The piece, the artist says, is a response to violence that has occurred around the world in recent decades. He calls it And How Many Rains Must Fall before the Stains Are Washed Clean.

There is no shortage of war art at the Met, of course. But at a time when the museum has one Civil War show on view and another opening this month, there is a particular sense of trauma and despair in some of its galleries, especially because so many of the 19th-century images echo what we see in the daily news.

It was as a response to bombings in Lahore that Qureshi began using red acrylic paint in his art, creating tragic landscapes that negate the idea of paradise on earth.

While the Met piece was in the works, the Boston bombings occurred. In another symbolic gesture, Qureshi decided not to paint the entire surface.

Read more

Imran Qureshi, And How Many Rains Must Fall before the Stains Are Washed Clean, installation view, 2013, acrylic.

COMMISSIONED BY THE METROPOLITAN MUSEUM OF ART, NEW YORK FOR THE IRIS AND B. GERALD CANTOR ROOF GARDEN.

letmypeopleshow: So many animals live and dead in #expo1...

Tue, 14 May 2013 10:30:24 -0400

letmypeopleshow:

So many animals live and dead in #expo1 @momaps1. Which came first the chicken or this Charles Ray?

letmypeopleshow: When in the Kaws of human events…. My interns...

Mon, 13 May 2013 10:30:09 -0400

letmypeopleshow:

When in the Kaws of human events….

My interns submitted my name in the raffle to win the Kaws bike helmet I tried on at the New Museum’s Ideas City festival. Just found out I won!

letmypeopleshow: It begins. Obligatory #artselfie...

Mon, 13 May 2013 08:31:26 -0400

letmypeopleshow:

It begins. Obligatory #artselfie @friezenewyork in Josiah Mcelheny in White Cube

letmypeopleshow: Whose Art is Your Dating Profile Picture...

Thu, 09 May 2013 12:13:09 -0400

letmypeopleshow:

Whose Art is Your Dating Profile Picture Anyway?

Is your dating profile art?

A forum just appeared on the Jewish Museum website in response to an emotional controversy over a work by Marc Adelman that played out last summer. The piece, Stelen, features photos of men posing in Berlin’s Holocaust memorial. The artist had downloaded them from profiles on a gay online dating site.

For Adelman, the photos spoke volumes about memory, minorities, and persecution. “The fact that several hundred men (and likely many more) posed for casual, flirtatious snapshots in the Holocaust Memorial cannot be reduced to sheer coincidence,” he writes.

Some of the men saw it otherwise, saying their privacy, and safety, was compromised. When they threatened legal action, the museum took the piece down.

“We say we want artists to be provocative, but as the controversy around Stelen makes clear, there are lines we are not comfortable stepping over,” comments Marvin Heiferman, one of seven contributors to the forum.

Patricia J. Williams, a Columbia law professor, suggested a creative way to approach some of the privacy issues the case raises. She wondered if online profile photos could be considered “one’s ‘own’ artistic rendering”—in other words, subject to copyright legislation.

Read more.

Marc Adelman, image from the series “Stelen (Columns),” 2007-2011, inkjet print. COURTESY THE ARTIST.

letmypeopleshow: Marriage of abstraction & figuration:...

Mon, 06 May 2013 10:30:32 -0400

letmypeopleshow:

Marriage of abstraction & figuration: James Esber at Pierogi

letmypeopleshow: Artists only: @slyartist @crischou @poshmomo...

Mon, 06 May 2013 10:00:33 -0400

letmypeopleshow:

Artists only: @slyartist @crischou @poshmomo @the_nebulous_one & Friendly painter do #influxinflux for #artschoolwithoutwalls in @newmuseum #ideascity

letmypeopleshow: Brush Up! Amanda on 1st Street...

Mon, 06 May 2013 09:30:20 -0400

letmypeopleshow:

Brush Up! Amanda on 1st Street #cre8tiveyouthink #influxinflux @newmuseum #ideascity

letmypeopleshow: Who’s afraid of #redyellowandblue. And purple...

Fri, 03 May 2013 10:30:16 -0400

letmypeopleshow:

Who’s afraid of #redyellowandblue. And purple and pink and….Orly Genger goes colorific in #madsqpark

letmypeopleshow: Throw this cat: Lichtenstein frisbee via...

Fri, 03 May 2013 10:00:26 -0400

letmypeopleshow:

Throw this cat: Lichtenstein frisbee via @artproductionny & @barneysnyofficial

letmypeopleshow: His cups runneth over: Lichtenstein products...

Fri, 03 May 2013 09:30:15 -0400

letmypeopleshow:

His cups runneth over: Lichtenstein products in @barneysnyofficial windows via @artproductionny

letmypeopleshow: Showing his polyamorous side: Warhol photo of...

Wed, 01 May 2013 09:12:36 -0400

letmypeopleshow:

Showing his polyamorous side:

Warhol photo of Keith Haring with model at Studio 54, ca. 1985, in Christies online sale from the Warhol Foundation.

letmypeopleshow: The Gentle Giants of Rockefeller Center They...

Fri, 26 Apr 2013 10:30:31 -0400

letmypeopleshow:

The Gentle Giants of Rockefeller Center

They came by night—three nights, really, then Rockefeller Center Plaza was overtaken by an army of giants.The massive, archaic forms, which look like they ambled across the Atlantic from Stonehenge, are the work of Ugo Rondinone, the impish Swiss artist whose last public appearance in New York was the giant “Hell, Yes” on the facade of the new New Museum.

Rondinone conceived his exhibition, called “Human Nature,” as a kind of counterpoint to The Tree, which dominates the plaza at Christmas but casts a giant shadow all year. The bluestone figures, which weigh up to 30,000 pounds each and stand up to 20 feet high, seem impervious to the Greco-Roman strongmen who usually run this part of town, like the Atlas over on Fifth, the Prometheus across the plaza, and the Deco Zeus on the 30 Rock facade, who looks as though he’s going to be stuck in the clouds for the duration of this show.

Rondinone’s modern megaliths demonstrate that even in an era of touchscreens and interactive spectacle, it’s human nature to feel awed and inspired in the presence of a giant rock.

Yet characteristically, Rondinone instills a sweet, appealing quality in his gentle giants, who come off not so much as invaders but as sentries.

They provoke a feeling of awe—and also awwwwww.

Read more

Ugo Rondinone, Human Nature, 2013, on view at Rockefeller Center, New York City, April 23 - June 7, 2013, presented by Nespresso, organized by Tishman Speyer and Public Art Fund. Photo James Ewing, Courtesy Public Art Fund, NY.

letmypeopleshow: Let My People Go—Back to Poland! Jews!...

Fri, 19 Apr 2013 13:25:15 -0400

letmypeopleshow:

Let My People Go—Back to Poland!

Jews! Countrymen! People!”

So rings out the appeal, by a dashing orator, for 3.3 million Jews to return to the land of their forebears—Poland. Heal our wounds and you’ll heal us,” he implores. “…without you we will remain locked in the past…Return today and Poland will change. Europe will change. The world will change.”

The scene is from Yael Bartana’s stirring film and Europe will be stunned, now playing for the first time in New York at Petzel gallery in Chelsea.

Bartana’s Polish return fantasy is one of a number of recent mockumentary-style works by Israel-born artists who relocate the Promised Land to Europe. But Bartana brought her campaign into another reality when she turned the Jewish Renaissance Movement into a real entity, staging its first International Congress at the Berlin Biennale last year. At Petzel, you can pick up a poster for it—in Polish, Hebrew, or English.

Her story got even “more real” today when The Museum of the History of the Polish Jews opened its doors in Warsaw, across from the famous Ghetto monument. Read more.

Yael Bartana, and Europe will be stunned, still from Zamach (Assassination), 2007-2011, three-channel video and sound installation.

COURTESY OF THE ARTIST AND PETZEL, NEW YORK.

creativetime: Cre8tive YouTH*ink, pairing young...

Sun, 14 Apr 2013 10:30:24 -0400

creativetime:

Cre8tive YouTH*ink, pairing young apprentices with artists like Sofia Maldonado, has been invited to participate in New Museum’s Ideas City Festival this May. Support meaningful youth development through their Indiegogo campaign to raise money for materials and stipends for the apprentices.

letmypeopleshow: Uncivil war: Detail of ‘Wall Sample 1,’ new...

Sat, 13 Apr 2013 10:30:21 -0400

letmypeopleshow:

Uncivil war: Detail of ‘Wall Sample 1,’ new piece by Kara Walker, @sikkemajenkins

letmypeopleshow: Dome Improvement? If there’s a barrier to your...

Fri, 12 Apr 2013 10:30:33 -0400

letmypeopleshow:

Dome Improvement?

If there’s a barrier to your getting into one of the edgiest dinners in the New York art world this weekend, it won’t be the admission. But it might be the subway.

“This Is Not a Private Party” is the insistent, unironic name of the communal potluck dinner that will be held on Saturday at the VW Dome 2, MoMA PS1’s newest outpost in Queens.

The white geodesic structure, a smaller version of its older sibling in Long Island City, popped up two weeks ago at Beach 94th Street in the Rockaways, right across Shorefront Parkway from the beach, or what’s left of it. In between is the skeleton of the boardwalk—one of many amenities, including the subway, that have yet to be repaired since superstorm Sandy walloped the peninsula last fall.

The dinner is a project of the Rockaway Rescue Alliance, a group working to establish a permanent pay-as-you-can Relief Restaurant. They’re among the partners Klaus Biesenbach, the MoMA PS1 director who conceived of the Dome (and owns a second home nearby), has invited to help program it, along with the Rockaway Waterfront Alliance, the Rockaway Beach Surf Club, and the Queens Museum.

The VW Dome 2 is another example of the ways that even in a time of austerity, U.S. art museums are continuing to expand beyond their walls.

Today’s art-museum outposts are humble, nimble, democratic, offering free admission—and much more than art. Read more

PHOTO: CHARLES ROUSSEL / COURTESY MOMA PS1.