Things to do this week in NYC Aug 4-Aug 11: MuseumsAugust 4, 2012 - by CG Directory Editor
Some of the world's most impressive museums and exhibits are in New York?including the Whitney, the Guggenheim, the Museum of Modern Art (MoMA), and (of course) the Metropolitan Museum of Art. One of the great things to do in NYC is to visit these spectacular collections. Whether you're a native New Yorker or here on vacation, NYC's museums have something new and interesting to offer everybody! Here is a list of what's going on this week at museums throughout New York City.
The Dawn of Egyptian Art - Metropolitan Museum of Art
During the Predynastic and Early Dynastic Periods (ca. 4000-2650 B.C.), people living in the Nile Valley began recording their beliefs through paintings, sculptures, and reliefs made for their shrines and tombs. These works of art capture the evolving world view of these early Egyptians. Images of people, animals, and landscapes, some of which give rise to hieroglyphs, include forms and iconography that remained in use throughout the art of Pharaonic Egypt. This exhibition brings together some 175 objects gathered from the Metropolitan Museum's important collection of early art and from the collections of twelve other museums in the U.S. and Europe to illustrate the origins and early development of ancient Egyptian art.
Revolutionary Ink: The Paintings of Wu Guanzhong - Asia Society and Museum
Wu Guanzhong (1919-2010) stands as one of the most important artists of 20th-century China. He was highly prolific both in oil and ink painting and is well known for his eloquent writings on art and creativity. For this exhibition, over 50 paintings spanning the mid-1970s to 2004 have been selected that focus on his best works in the medium of ink. Revolutionary Ink: The Paintings of Wu Guanzhong is organized by Asia Society in collaboration with the Shanghai Art Museum, to which the artist gave many of his works. The exhibition traces the development of Wu's work, and emphasizes his radical individual approach to the medium of ink painting and how it went against the trend at a time when most artists were looking to Western art as a model. The inclusion of a Chinese hanging scroll painting from the 15th century illustrates the long tradition of ink painting in China. The exhibition shows Wu's legacy as a modern master who pushes the boundaries of our understanding of how a traditional medium of ink can be made new for a new century. The exhibition is curated by Melissa Chiu of Asia Society and Lu Huan of Shanghai Art Museum. It is accompanied by a fully illustrated catalogue, with an essay by leading Chinese and American scholars as well as essays by the artist translated for the first time into English. Revolutionary Ink: The Paintings of Wu Guanzhong is organized by Asia Society Museum and the Shanghai Art Museum, one of China's leading cultural institutions. The museum has been the main venue of the international Shanghai Biennale exhibition since 1996 and draws global attention to a city that has become one of the country's most important art centers.
Coast Guard Appreciation Day - Intrepid Sea, Air & Space Museum
Join Intrepid as we celebrate the United States Coast Guard. Spend the day at Intrepid's Pier 86 and enjoy demonstrations, special performances and hands-on displays. Members of the US Coast Guard will be on hand to educate museum visitors about how the Coast Guard protects NYC and their motto Semper Paratus, "Always Ready ."
stillspotting nyc: staten island - Off-site
stillspotting nyc: staten island July 14–15, July 21–22, July 28–29, and August 4–5, 2012, 12-5pm For the Guggenheim Museum’s off-site architecture and urban studies exhibition stillspotting nyc: staten island, sound artist Justin Bennett and poet Matthea Harvey present Telettrofono, an audio walking tour that braids history with fantasy along and around the waterfront. In a 90-minute soundwalk beginning at a stillspotting nyc kiosk located at the Staten Island Ferry Terminal in St. George, visitors will discover the true story of Antonio Meucci, the unacknowledged inventor of the first telephone (1871), and the hidden story of Meucci’s wife Esterre, who was rumored to be a mermaid who left the water for land due to her love for sound. Admission: $12, $10 members, free children 12 and under. Advance registration strongly recommended. Website: http://stillspotting.guggenheim.org/
Let My People Go! The Soviet Jewry Movement, 1967-1989 - Museum of Jewish Heritage - A Living Memorial to the Holocaust
This exhibition tells the story of Jews in the former Soviet Union who wanted to emigrate but were denied permission to leave. Visitors will learn about their efforts to maintain a Jewish identity, their struggles with Soviet authorities, and the worldwide support they received. This traveling exhibition is organized and circulated by the State of Israel�Ministry of Public Diplomacy and Diaspora Affairs and Beit Hatfutsot, the Museum of the Jewish People, Tel Aviv. It is part of the original exhibition Jews of Struggle: The Jewish National Movement in the USSR, 1967�1989, curated by Beit Hatfutsot in 2007. It was initiated by the Remember and Save Association and its director Aba Taratuta. The exhibition has been adapted for American audiences in cooperation with the Museum of Jewish Heritage - A Living Memorial to the Holocaust.
9 Scripts from a Nation at War - Museum of Modern Art (MoMA)
9 Scripts from a Nation at War (2007), a 10-channel video installation recently acquired by MoMA, marks the first work for which artists Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander, and David Thorne have collaborated. The work responds to knowledge production and communication in the context of the Iraq war since the initial invasion by U.S. military forces in March 2003. The 10 videos comprising the large-scale, spatial installation cast inquiry into the position of the individual amidst roles constructed by war. Each video stages the speaking of a script from the following perspectives: citizen, blogger, correspondent, veteran, student, actor, interviewer, lawyer, detainee, and source. The scripts are enacted by both actors and non-actors, some speaking their own words, some reciting the words of others. Displayed as projections and seated viewing stations in a circuitous, non-narrative structure, the performative videos create a charged environment questioning the implications of war on individual and collective subjectivity.
P.S. Art 2012 - Celebrating the Creative Spirit of New York City Kids - Metropolitan Museum of Art
This year marks the tenth anniversary of P.S. Art, an annual juried exhibition of talented young artists from New York City's public schools. This selection showcases the creativity of seventy-six K through 12 students from all five boroughs and includes paintings, prints, sculptures, mixed-media works, collages, and drawings. Each piece represents a unique expression of imagination and ability.
Beyond Planet Earth: The Future of Space Exploration - American Museum of Natural History
Beyond Planet Earth launches visitors into the exciting future of space exploration as it boldly speculates on humanity's next steps in our solar system and beyond. The exhibition features a full-sized re-creation of a lunar habitat, a model of an elevator reaching up into space, a walk-through diorama of the Martian surface, and challenging interactive simulations. See authentic equipment and models of historic spacecraft from select voyages in the past. Learn about robotic missions that are currently headed deeper and deeper into our own solar system, and what they might reveal. Understand why geologists are so interested in specimens from moons and other planets and what we can learn from them. And explore some possible spectacular missions of the future: mining the Moon, landing on and deflecting a potentially deadly asteroid, or traveling to Mars - and perhaps even establishing colonies there. Is it possible within our lifetime? Will we discover evidence of life, past or present, on another planet? Find out what experts think the future will hold for us beyond planet Earth. Gallery 3, third floor
Rachel Kneebone: Regarding Rodin - Brooklyn Museum
Rachel Kneebone: Regarding Rodin features fifteen iconic works by nineteenth-century French master Auguste Rodin, selected from the Museum's collection by British artist Rachel Kneebone and shown alongside eight of her own large-scale porcelain sculptures. The exhibition, Kneebone's first major museum presentation, will highlight the artists' shared interest in the representation of mourning, ecstasy, death, and vitality in figurative sculpture. The pairing also offers a visual comparison of the two sculptors' materials and processes. Kneebone's intricately wrought artworks, simultaneously pristine and agitated, contain allusions to Michelangelo, Gianlorenzo Bernini, and Louise Bourgeois. Integrating recognizable human forms with odd mutations, they provide a stark contrast to Rodin's dark, more-concrete, yet equally animated bronzes. Whereas Rodin cast his sculpture, Kneebone creates unique artworks that she fires in a small kiln in her studio, often in sections to be assembled later. The centerpiece of the exhibition, The Descent (2008), is Kneebone's largest work to date. It was inspired by Dante Alighieri's Divine Comedy, as was Rodin's masterpiece The Gates of Hell (1880–1917). The London-based Kneebone was born in 1973 in Oxfordshire, England, and Rodin (1840–1917) was born in Paris. Rachel Kneebone: Regarding Rodin was organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. This exhibition is made possible by the Elizabeth A. Sackler Foundation, with additional support provided by Lisa and Dick Cashin.
Industry.Cinema: An Installation by Caroline Martel - Museum of the Moving Image
Apart from the familiar world of feature films, there exists a lesser-known world of industrial films, instructional and informational sponsored short films that were shown in schools, at corporate events, in the workplace, and at commercial theaters before features. Documentary filmmaker Caroline Martel's installation INDUSTRY/CINEMA takes an illuminating journey through film history by juxtaposing industrial images with those from popular or canonical films made between 1903 and 1991. With headphones and channel switches, visitors can toggle back and forth between the soundtracks. Images and sounds comment on each other, often in surprising ways, allowing for a singular interactive experience. Scenes from films by Thomas Edison, Charles Chaplin, François Truffaut, and Stanley Kubrick are shown alongside such archival gems as How Business Girls Keep Well, Along These Lines, and The Speech Chain, an AT&T film with a computer singing "Daisy Bell," which was sung by the computer HAL in 2001: A Space Odyssey.
Swept Away - Dust, Ashes, and Dirt in Contemporary Art and Design - Museum of Arts & Design
MAD has explored the intersection of traditional or unusual materials and techniques as viewed through the lens of contemporary art and design in a series of exhibitions that include Radical Lace and Subversive Knitting; Second Lives: Remixing the Ordinary; Slash: Paper Under the Knife; Dead or Alive: Nature Becomes Art; and Otherworldly: Optical Delusions and Small Realities. The next investigation into unusual mediums features an international group of artists whose major materials are dust, ashes, dirt, and sand. Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design will highlight works that deal with issues such as the ephemeral nature of art and life, the quality and content of memory, issues of loss and disintegration, and the detritus of human existence. Sculptures made from ash by Chinese artist Zhang Huan, life-size sculptures of unfired dirt by American artist James Croak, and works created from city smog by American artist Kim Abeles, among others, illustrate the transformative potential of humble, overlooked, and discarded materials.
Newspaper Fiction: The New York Journalism of Djuna Barnes - Brooklyn Museum
Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913-1919 is an exploration of the early journalistic career of American writer and women's rights advocate Djuna Barnes (1892-1982). Though best known for her modernist novels and plays, including Nightwood (1936) and The Antiphon (1958), Barnes spent the period between 1913 and her departure for Europe in 1921 living in New York's Greenwich Village and working as a writer and illustrator for publications including the Brooklyn Daily Eagle and Vanity Fair. The product of an unconventional household, she developed an outsider's perspective on "normal" life that served her as an artist, and a liberal sexuality that fit in perfectly with the bohemian lifestyle of Greenwich Village and, later, the lesbian expatriate community in Paris. She used journalism as a means to understand New York City's people and places, and as an excuse to push boundaries and explore society's margins. On view will be forty-five objects, including documentary photographs, drawings, works on paper, and Barnes's stories in newsprint, including eight illustrations she composed to accompany her newspaper columns. Her work suggests a proto-feminist sensibility, emphasizing politics as something experienced on an individual, emotional level.
Gold, Jasper, and Carnelian: Johann Christian Neuber at the Saxon Court - Frick Collection
Johann Christian Neuber was one of Dresden's most famous goldsmiths. Sometime before 1775 he was named court jeweler to Friedrich Augustus III, elector of Saxony, and in 1785 he was appointed Curator of the Grunes Gewolbe (Green Vault), the magnificent royal collection of Augustus the Strong, the founder of the Meissen Porcelain Manufactory. For more than thirty years, Neuber created small gold boxes, chatelaines, and watchcases decorated with local semiprecious stones such as agate, jasper, and carnelian. He fashioned enchanting landscapes, complex floral designs, and geometric patterns with tiny cut stones, often incorporating Meissen porcelain plaques, cameos, and miniatures. These one-of-a-kind objects, which reflect the Saxon court's interest in both luxury items and the natural sciences, remain prized treasures today, but have never before been shown together in a monographic exhibition. The exhibition aims to shed light on the master's transformative contribution to this art form, incorporating the results of newly performed technical research to answer questions about the dating of Antico's works, his technique, and his development as an innovative artist. Jointly organized by the National Gallery of Art and The Frick Collection, the exhibition opened in the fall of 2011 in Washington, D.C., before traveling to New York City the following spring. The exhibition is curated by Eleonora Luciano, Associate Curator of Sculpture at the National Gallery of Art, in collaboration with Denise Allen, Curator at The Frick Collection. The accompanying catalogue is written by an international team of scholars including Eleonora Luciano, Denise Allen, and Claudia Kryza-Gersch, Curator of Italian Sculpture at the Kunsthistorisches Museum, Vienna. It will be the first independent monograph in English to focus on the artist and the first comprehensive presentation of his works in color.
Spies in the House of Art - Photography, Film, and Video - Metropolitan Museum of Art
Artists are the secret constituency of museums, inspired and challenged not only by the objects and collections they display but also by the spaces in which they are shown and the authority they represent. Most artists aspire to see their works in museums, even if they joke among themselves about how museums are mausoleums, places where art goes to die. In telling stories about how and why art gets made, museums provide a ready-made foil for artists to react against and clarify their own positions. This selection of photography, film, and video from the permanent collection surveys the various ways museums inspire the making of works of art. A museum can be the setting for a new work or provide the raw material for creations that build upon a previous aesthetic experience. The camera can highlight the estrangement of objects from their original functions, unlock from a straitlaced decorousness of display the desires -- libidinal or otherwise -- that engendered the objects in the first place, or make visible the imaginative projection that underlies much looking at art. At a time when the automatic reflex of a technologically harried and distracted museum visitor may be to point and shoot, capture and move on, these works suggest the benefit of stepping back, reflecting, and lingering. In an unprecedented commingling of old and new works, Andrea Fraser's video Museum Highlights: A Gallery Talk (1989) will be exhibited alongside paintings by William-Adolphe Bouguereau, Alexandre Cabanel, and Franz Xaver Winterhalter in Gallery 809 within the Galleries of Nineteenth-Century, Modern, and Contemporary Art, around the corner from the main installation. A complementary installation of a dozen photographs from the medium's beginnings to the early 1970s will be on view through May 6 in Gallery 850.
Playing House - Brooklyn Museum
Playing House is the first in a series of installations that aim to engage visitors with the Brooklyn Museum's period rooms. Artists Betty Woodman, Anne Chu, Ann Agee, and Mary Lucier have been invited to place site-specific artwork in eight of the Museum's historic rooms, which have been interpreted by curators over the years to illustrate how Americans of various times, economic levels, and locations lived. The artists were asked to consider these factors when developing their ideas. The project originated with Woodman's observation that although being an artist means confronting the art of the past, no one can enter the past -- except through "make believe," or "playing house," by which the past can be appropriated. Chu created magical birds and flowers out of textiles, feathers, paper, and metal, unexpectedly bringing nature and the outside world into the rooms. Lucier, who is descended from Dutch and Huguenot settlers, created videos that evoke memories of place and where we come from. Agee transformed the strict social order and luxury of the Milligan rooms into an artisan's workshop, and Woodman created table settings and "carpets" incorporating painting and ceramics. Playing House occupies the Cupola House Dining Room, the Russell Parlor, the Cane Acres Plantation Dining Room, the Worsham-Rockefeller Moorish Smoking Room, the Schenck Houses, the Weil-Worgelt Study, and the Milligan Parlor and Library. The installation is organized by Barry R. Harwood, Curator of Decorative Arts, and Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum.
Sanford Biggers and Jennifer Zackin: a small world... - The Jewish Museum
In the collaborative video a small world..., artists Sanford Biggers and Jennifer Zackin juxtapose home movies of their families -- one African American and one Jewish American --- to explore the intersections of middle-class life across racial lines. Originally recorded in silent super-8 film, the video shows the artists as children growing up in New York and Los Angeles in the 1970s. Typical family events and holidays -- birthdays, Hanukkah, Christmas, barbecues, family trips to Disneyland, playtime in the backyard -- are shown simultaneously, drawing attention to similarities of class while recognizing differences of ethnicity.
The Parade: Nathalie Djurberg with Music by Hans Berg - New Museum
"The Parade: Nathalie Djurberg with Music by Hans Berg" is Djurberg's most ambitious multimedia installation to date. Originally organized by the Walker Art Center, Minneapolis, Djurberg will adapt this spectacular installation for the New Museum's 'Studio 231' space. In the hands of Swedish artist Nathalie Djurberg, animation becomes a medium for transgressive and nightmarish allegories of desire and malcontent. Since 2001, she has honed a distinctive style of filmmaking, using the pliability of clay to dramatize our most primal urges -- jealousy, revenge, greed, submission, and gluttony. Set to music and sound effects by her collaborator, Hans Berg, Djurberg's videos plumb the dark recesses of the mind, drawing sometimes disturbing connections between human psychology and animal behavior. Increasingly, the artists' interdisciplinary collaborations have blurred the cinematic, the sculptural, and the performative in immersive environments that pair moving images and musical compositions with related set pieces. For her new work, The Parade (2011), Djurberg has created five captivating animations and an unnerving menagerie of more than eighty freestanding bird sculptures. Drawing on avian physiology, rituals of mating and territorial display, and the social phenomenon of flocking, she has assembled a fantastical procession of species all fashioned from modest materials such as clay, wire, and painted canvas. These hybrid, sometimes monstrous forms speak to the artist's recurring interest in physical and psychological transformation, as well as pageantry, perversion, and abjection. In the accompanying claymation videos, humans and animals alike act out upsetting scenarios of torture, humiliation, and masquerade, further mining the interplay of brutality and guilt at the heart of Djurberg's work. Berg's eerie film scores -- composed of elements both found and invented -- suffuse the entire installation, merging to form a unified soundscape. With these films, both artists have begun to conceive narrative in spatial terms as aspects of character, setting, sound, and action migrate from one story to the next across the exhibition space. Born in Lysekil, Sweden, in 1978, Nathalie Djurberg received her MFA from Malm� Art Academy in 2002, and since that time she has exhibited widely in solo and group exhibitions around the world. Most notably, in 2009 she presented her installation The Experiment in the exhibition "Making Worlds" at the 53rd Venice Biennale, for which she was awarded the prestigious Silver Lion for Promising Young Artist. In 2008, Djurberg participated in the New Museum's "After Nature" exhibition curated by Massimiliano Gioni. She currently lives and works in Berlin with Hans Berg. Hans Berg was born in Rattvik, Sweden, in 1978. He is a Berlin-based electronic music producer and self-taught musician. He began playing the drums in punk and rock bands at the age of fourteen. By fifteen, Berg started creating electronic music -- which he has made ever since -- when he purchased his first synthesizer and sampler. Berg and Djurberg met in Berlin in 2004. Since then, he has composed the music for all of her films and installations. The exhibition is curated by Eric Crosby and Dean Otto for the Walker Art Center and organized at the New Museum by Gary Carrion-Murayari, Curator.
Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen - Neue Galerie
The Neue Galerie New York will present "Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen," an exhibition focusing on the luminous work of this important Austrian photographer. The organizing curator for the project is Dr. Monika Faber, a distinguished scholar of photography. "Heinrich Kuehn and His American Circle" aims to situate Kuehn with regard to both the Viennese avant-garde and the international development of photography as an art form. It explores the close friendship among Kuehn and major American photographers Alfred Stieglitz and Edward Steichen. The early pictorial work of photographer Heinrich Kuehn (1866-1944) was highly influential in turn-of-the-century circles; his work was exhibited at the Vienna Secession. Gradually, Kuehn incorporated the influence of his peers, and moved in the direction of Modernist photography. He was also among the first important photographers to create color images. Photographic prints and autochromes by Kuehn will be included in the exhibition.
Ecstatic Alphabets/Heaps of Language - Museum of Modern Art (MoMA)
Ecstatic Alphabets/Heaps of Language is a group exhibition that brings together 12 contemporary artists and artists' groups working in all mediums including painting, sculpture, film, video, audio, and design, all of whom concentrate on the material qualities of language -- visual, aural, and beyond. The work that these artists create belongs to a distinguished history of poem/objects, and concrete language experiments that dates to the beginnings of modernism, and includes both the Dada and Futurist moments as well as the recrudescence of Neo-Dada in the late 1950s, and international literary movements like concrete and sound poetry in Europe, Latin America, and the United States. Like visual artists who experimented with abstract forms with the goal of arriving at a non-metaphoric artwork that was itself and nothing else, artists working with words in the late 1950s and 1960s used language as a medium; letters, words, and texts were dissected, displayed as objects, or arranged so that form and content were combined. The works in Ecstatic Alphabets represent a radical updating of the possibilities inherent in the relationship between art and language. In this exhibition, the letter, the word and the phrase are seen and experienced, and not necessarily read. Physicalized, transcribed into sounds, symbols, pictures or patterns, scrambled, or negated, language is freed from the page as well as from its received meanings, received forms, and, in some cases, the duties of communication altogether. Working with language has also created an opportunity for artists to move more freely among disciplines, and this exhibition includes work in a range of mediums by artists who are also poets, writers, performers, and graphic designers. Like earlier experiments in this vein, many of these recent works have an abiding connection to poetry, which runs like a subtheme through the exhibition, adding the ecstatic element to each works' alphabetic plainness. The exhibition is divided into two sections, with the first featuring an abbreviated timeline of language in modern art culled primarily from drawings, sculptures, prints, books, and sound works from MoMA's collection. Artists in this historical section of the exhibition include: Carl Andre, Marcel Broodthaers, Henri Chopin, Marcel Duchamp, Ian Hamilton Finlay, John Giorno, Kitasono Katue, Ferdinand Kriwet, Liliane Lijn, Filippo Tommaso Marinetti, Bruce Nauman, Lawrence Weiner, and others. Artists in the contemporary section of the exhibition include: Ei Arakawa/Nikolas Gambaroff, Tauba Auerbach, Dexter Sinister (David Reinfurt and Stuart Bailey), Trisha Donnelly, Shannon Ebner, Paul Elliman, Experimental Jetset, Sharon Hayes, Karl Holmqvist, Paulina Olowska, Adam Pendleton, and Nora Schultz. The exhibition is accompanied by a publication designed and produced by Dexter Sinister.
Gustav Klimt: 150th Anniversary Celebration - Neue Galerie
Throughout 2012, Austria is celebrating the 150th birthday of Gustav Klimt with exhibitions devoted to his work. Several Viennese museums, including the Albertina, the Belvedere, the Kunsthistorisches, the Leopold, and the Wien Museum, are honoring different aspects of Klimt�s extraordinary legacy. The Neue Galerie is joining in these celebrations with a special summer 2012 installation of his work.
Tibet House US Presents: Mystic Nostalgia - Tibet House US Gallery
Tibet House US will present its next art exhibition entitled Mystic Nostalgia, featuring the gorgeous and imaginative paintings of Brazilian artist Tiffani Gyatso. This incredible body of work will be on display at the Tibet House US Gallery from June 14 – August 29, 2012, beginning with a special opening reception on June 14, 2012, from 6-8pm. Gyatso’s colorful and emotive paintings fuse traditional Tibetan imagery with her own contemporary style inspired by her own spiritual search. Mystic Nostalgia reflects the internal process to understand those things in life that we do not yet have answers for, and sometimes cannot even articulate or name – the mystic unknown. Captivating in its beauty and imagination, the exhibition reflects the spiritual journey and its pilgrimages through the inner places of love, heartbreak, fortitude and trust. “These paintings took birth from an inner process of trying to find answers for those things with no name,” says Gyatso. Though her work is rooted in sacred iconography from Tibet, Gyatso also paints images that are abstract, inspired by inner gods and demons. Gyatso suggests that most of her paintings “come from a broken heart trying to deal with illusions and passions, basing thought on the Buddhist dharma teachings, adopting a vision of spiritual practice through all that happens in the deep turmoil of samsara - the continuous cycle of birth, life, death and rebirth.”
On Paper: Impressionist, Modern, and Post-War Masters - Hammer Galleries
On Paper features an international selection of artists including over forty significant pastels, gouaches, pencil drawings and collages from Impressionist, Modern and Post War Masters. Beginning with drawings from the Impressionist era, the exhibition includes several exceptional works by Honoré Daumier, Pierre-Auguste Renoir from and Mary Cassatt. Continuing into the twentieth century, On Paper showcases important works by Modern Masters such as Alexander Calder, Marc Chagall, Henri Matisse, Joan Miró and Kees van Dongen, as well as Surrealist works by Paul Delvaux and Yves Tanguy. The exhibition also features several works on paper by Pop Art icons Andy Warhol and Tom Wesselmann, as well as three lyrical watercolors by the Abstract Expressionist artist Sam Francis. A selection of seven drawings by Pablo Picasso ranging in date from 1905 to 1972, traces Picasso's career as a master draftsman. Picasso's extraordinary 1932 work on paper titled Le joueur de clarinette is inspired by Picasso's young mistress, Marie-Thérèse Walter and is an exhibition highlight. Picasso's association with Marie-Thérèse began in 1927 when she was still a teenager living with her mother. Many years later she told Life magazine, "I was seventeen years old. I was an innocent young girl. I knew nothing—neither of life or of Picasso. Nothing. I had gone to do some shopping at the Galeries Lafayette, and Picasso saw me leaving the Metro. He simply took me by the arm and said: 'I am Picasso! You and I are going to do great things together." In addition to their On Paper exhibition, Hammer Galleries will have a selection of major oil paintings by Picasso, Chagall, Legér and Miró on display as well as mobiles by Alexander Calder and sculpture by Jean Dubuffet. To celebrate the opening of their latest exhibition titled On Paper, Hammer Galleries has launched an interactive Virtual Tour which highlights the exhibition and their Park Avenue gallery space. Hammer Galleries' Virtual Tour simulates a real time viewing of their On Paper exhibition as it provides viewers with a 360 degree panoramic view of the gallery. With interactive capabilities, the tour gives the option to pan to different sections of the gallery and the ability to click on individual images of artworks. Full-screen shots of artworks with their corresponding details appear once artworks have been selected, allowing for their thorough examination. The Virtual Tour of On Paper is easily accessible on a computer, iPad or iPhone by clicking on the following link: http://vtg.virtualtourgallery.com/vtg-0137/#p=scene_view1
Lobby-for-the-Time-Being - Bronx Museum of The Arts
Expanding on his playful, ongoing exploration of architecture, the Bronx-born conceptual artist Vito Acconci, in collaboration with a team of architects and media artists, has radically transformed the Bronx Museum North Wing Lobby through a series of interventions built with Corian. A smooth, hard material that is not quite translucent and not quite opaque, Corian© is used by the Acconci Studio as if it were a pliable soft fabric: cut open and slit into strips, pulled and stretched, pitted and gouged, rolled and curved, and braided and knotted, making it behave almost as if it were an organism. Through this series of operations, the slick material often associated with kitchen countertops is transformed into a lace-like surface on which images and shadows cast by the audience are projected.
...As Apple Pie - Whitney Museum of American Art
Images, like words, can trigger a cultural or emotional response to a shared national ethos. Artists have employed images-sometimes straightforwardly, often obliquely-in order to comment on a country, its people, its political or social goals, and its self-image. This exhibition explores this phenomenon through a rotating installation, drawn from the Whitney's collection, of works on paper by a diverse group of artists including William N. Copley, Edward Hopper, Jasper Johns, Elizabeth "Grandma" Layton, Willard Midgette, LeRoy Neiman, Joseph Pennell, Charles Ray, Jaune Quickto- See Smith, and Stow Wengenroth.
Action: Sex and the Moving Image - Museum of Sex
We live in a highly visual culture: we are presented with representational impressions and images hundreds, if not thousands, of times each day, often to the point of sensory overload. The impact of these visual images resonates in every facet of our lives, contributing to how we interact with and interpret the world around us; it shapes our opinions, creative output and desires. Images also clearly serve as a driving force behind our decisions about what to buy, what to believe, what to value, where to go and which people and relationships are worth our time and energy. The most widely=used, persuasive images of all are indisputably those pertaining to sex. Sexual and sensual imagery abounds in commercials, music videos, television shows, mainstream film and on the web. Ignoring the intriguing, suggestive and titillating influence of these images is nearly impossible...but, more importantly, why should we? Sex in and on film directly propelled the development of private video technology for the masses, including VCR and DVD players; and, within the past few decades the Internet has made sexual imagery more instantaneously-accessible than ever. No matter how much it is discussed, denounced and demonized, however, images of sex - in films, on television sets, on computer screens and now on mobile devices ? are an increasing everyday facet of modern culture. Sex, nudity, and even innuendo have always been highly contentious topics of public discourse and debate. In fact, throughout the history of the "moving image" legislation has not only dictated what filmmakers could legally create, but also mandated what people were "allowed" to see. Those deeming subject matter as obscene or immoral have edited, censored, banned and even destroyed films with sexual content. Action: Sex and the Moving Image surveys the controversial history of sex and the moving image over more than 150 years, featuring everything from the subtle sexual metaphors in mainstream films like Dracula (1931) to the unsimulated sex scenes in independently-funded films like Sweet Sweetback's Baadasssss Song (1971), from the "sexploitation" films of the 1950s to the "porno chic" era that made Deep Throat (1972) and Debbie Does Dallas (1978) legendary, from the emergence/acceptance of same-sex pornography to contemporary celebrity "home-made" porn such as One Night in Paris (2004). Using multiple screens and light-boxes, this exhibition exposes the most influential and provocative sexual images caught on cinematic camera.
F*ck Art - A Street Art Occupation - Museum of Sex
In response to the growing anti-institution sentiment pervasive in our culture, the Museum of Sex has engaged a group of 20 select street artists to occupy the third floor gallery at the Museum of Sex. Showcasing work that pushes the boundaries of our relationship to sexuality in public space, F*CK ART invites a dialogue around the power of visual provocation in the urban environment. This installation is a combination of existing pieces and site-specific works created for the run of the show.
Activist New York - Museum of the City of New York
Guest curator Steven Jaffe will lead a tour of the inaugural exhibition in the new Puffin Foundation Gallery. From the 17th century diary of John Bowne, which details his fight for religious freedom, to vintage footage of settlement house workers in the 1920s, to movies of residents in the South Bronx fihgting for housing in the 1970s, Dr. Jaffe will trace how citizens organizing to claim their human rights have shaped the destiny of the city.
Weegee: Murder Is My Business - International Center of Photography
For an intense decade between 1935 and 1946, Weegee (1899-1968) was one of the most relentlessly inventive figures in American photography. His graphically dramatic and often lurid photographs of New York crimes and news events set the standard for what has become known as tabloid journalism. Freelancing for a variety of New York newspapers and photo agencies, and later working as a stringer for the short-lived liberal daily PM (1940-48), Weegee established a way of combining photographs and texts that was distinctly different from that promoted by other picture magazines, such as LIFE. Utilizing other distribution venues, Weegee also wrote extensively (including his autobiographical Naked City, published in 1945) and organized his own exhibitions at the Photo League. This exhibition draws upon the extensive Weegee Archive at ICP and includes environmental recreations of Weegee's apartment and exhibitions. The exhibition is organized by ICP Chief Curator Brian Wallis.
BE SURE! BE SAFE! GET VACCINATED! Smallpox, Vaccination and Civil Liberties in New York - New-York Historical Society
The eradication of smallpox, variola major, from the world is one of the great triumphs of modern medicine. For centuries, this highly contagious, disfiguring lethal disease swept through communities, often killing nearly a quarter of its victims and leaving many of the rest blind and deeply scarred. There is still not any known cure for the disease, but the last naturally occurring case of smallpox in the world appeared in 1977. "Get Vaccinated!" -- part of a slogan from an incredibly successful 1947 campaign requesting voluntary vaccination (when five million New Yorkers were vaccinated in two weeks) -- traces the history of smallpox and efforts to manage it in the crowded environs of the nation's largest city. The exhibition begins with the use of inoculation (the introduction of matter from a pustule on the body of smallpox sufferer), in the eighteenth century, and George Washington's dramatic decision to inoculate his troops during the Revolutionary War, amid rumors that the British were intentionally infecting rebel populations. Themes emphasized in Get Vaccinated! include the history of vaccination itself, the painful conflict between the need to manage disease in an urban environment and the rights of individuals to resist government interference in their private lives, the growing effectiveness of public relations campaigns in promoting public health initiatives, bioterrorism and the political and economic impact of all epidemics in the city, including cholera, typhus, yellow fever, and AIDS.
Jubilation/Rumination: Life, Real and Imagined - American Folk Art Museum
Life is not lived in black and white: reality may have the tinge of dreams and dreams an air of reality. This provocative tension exists between the experiential nature of early American folk art and the fantastical imagery it often displays—between what is real and what is imagined. The same is true of the work of contemporary self-taught artists, which may introduce unique—and sometimes puzzling—expressions that illuminate the iconoclastic nature that is the flip side of the collective American psyche. The viewer is placed in the peculiar but exhilarating position of deciding for him- or herself whether the artwork expresses a disjuncture with reality or an uninhibited embracing of interior life. After all, what is more true, the picture that looks real or the picture that feels real; the observer or the observed? These perceptions shift as new scholarship emerges. Often, real-life roots are discovered for even arcane and esoteric imagery that has already influenced our response to an artist and his work: does this disappoint or satisfy the viewer? Diminish or enhance the creativity of the artist? One need only contemplate the culture- and memory-driven gestures of Martín Ramírez, the impressionistic nineteenth-century portraits by Dr. and Mrs. Shute, and minimalist mid-twentieth-century soot drawings by James Castle to render these distinctions immaterial. Instead the viewer is urged to enjoy the permeable fluidity between art and imagination, dream and belief. Stacy C. Hollander Senior Curator
Christer Stromholm: Les Amies de Place Blanche - International Center of Photography
Christer Stromholm (1918-2002) was one of the great photographers of the twentieth century, but he is little known outside of his native Sweden. This exhibition presents his most powerful and acclaimed body of work: Les Amies de la Place Blanche, a documentation of transsexual street hustlers in Paris in the 1960s. Arriving in Paris in the late 1950s, Stromholm settled in Place Blanche in the heart of the city's red-light district. There, he befriended and photographed young transsexuals struggling to live as women and to raise money for sex-change operations. Str?mholm's surprisingly intimate portraits and lush Brassa-like night scenes form a magnificent, dark, and at times quite moving photo album, a vibrant tribute to these girls, the "girlfriends of La Place Blanche." The photographs were first published in Sweden in 1983, and the book quickly sold out, becoming a cult classic; it is being reissued in French and English this year. Stromholm's photo-essay raises profound issues about sexuality and gender; as he wrote in 1983, "It was thenoand still is-about obtaining the freedom to choose one's own life and identity." This exhibition, the first presentation of Stromholm's work in an American museum, is organized by ICP Curatorial Assistant Pauline Vermare.
A Short History of Photography: From the ICP Collection Honoring Willis E. Hartshorn, Ehrenkranz Director - International Center of Photography
In honor of its Ehrenkranz Director Willis Hartshorn, the International Center of Photography presents an engaging survey of its vast and unique collection of photographs. Founded in 1975, as part of the original concept for the Center, the photograph collection at ICP now contains well over 100,000 photographs, ranging from the 1840s to the present. This provocative selection by ICP Chief Curator Brian Wallis is an investigation of the aesthetics and uses of photographic images, and includes well-loved classics as well as little-known works by anonymous photographers. One of the hallmarks of the collection is a focus on alternative histories of photography, including marginalized social practices of photography as well as popular and nonart approaches to the medium. Eugene Atget, W. Eugene Smith, Cindy Sherman, Walker Evans, and Andre Kertesz are among the photographers included in this wide-ranging exhibition.
President in Petticoats! Civil War Propaganda in Photographs - International Center of Photography
As the American Civil War ground to a dispiriting and unheroic end after the surrender of General Robert E. Lee's rebel forces and the shocking assassination of President Abraham Lincoln in mid-April 1865, Jefferson Davis, President of the Confederate States, became a political fugitive. At dawn on May 10, 1865, a contingent of Michigan cavalry captured Davis in a makeshift camp outside Irwinville, Georgia. In his haste to flee, Davis grabbed his wife's overcoat rather than his own. News reports immediately circulated that Davis had been apprehended in women's clothes and that he was attempting to disguise himself as a woman. Northern artists and caricaturists seized upon these rumors of cowardly escape and created wildly inventive images, some using photomontage, to sensationalize the political story. Photographers circulated and even pirated dozens of fanciful photographic cards; many used a photographic portrait of Davis on a hand-drawn body in a woman's dress, hat, and crinoline, but wearing his own boots, the detail that supposedly betrayed him to his captors. The exhibition is organized by Assistant Curator of Collections Erin Barnett.
Beer Here: Brewing New York's History - New-York Historical Society
To consider the fascinating yet largely anonymous legacy of beer brewing in New York City, the New-York Historical Society presents Beer Here: Brewing New York's History. This exhibit surveys the social, economic, political, and technological history of the production and consumption of beer, ale, and porter in the city from the seventeenth century to the present. In the past three decades, New York City has become an important center of craft and home beer brewing. While this phenomenon began only after President Jimmy Carter signed into law an act that legalized home-brewing, the growth of New York's present beer industry also marks the resurgence of a long-standing tradition known to few outside the world of beer aficionados. Beer has been brewed in New York City and State since the days of its earliest European settlement, when it was a vital source of nourishment and tax revenues. Brewing continued locally and statewide throughout the eighteenth and early nineteenth centuries, and for much of the nineteenth century New York State was home to one of the country's largest brewing industries. Early nineteenth-century development of New York State's hop farming industry was vital to this growth, and from the 1840s through the 1880s the state was the largest producer of hops in the United States. Exhibit sections explore such topics as: the nutritional properties of colonial beer and early New York brewers in the age of revolution; infrastructure innovations and the importance of access to clean water; large-scale brewing in nineteenth-century New York and the influence of immigration; the influence of temperance and impact of prohibition; bottling, canning, refrigeration and other technological advances; and the state of the city's breweries in the age of mass production. Featured artifacts and documents include: a 1779 account book from a New York City brewer who sold beer and ale to both the British and patriot sides; sections of early nineteenth-century wooden pipes from one of the city's first water systems; a bronze medal that commemorates an 1855 New York State temperance law; beer trays from a variety of late nineteenth-century brewers; sign from the campaign to repeal prohibition; and a selection of advertisements from Piels, Rheingold and Schaefer, beloved hometown brewers. The exhibit concludes with a beer hall that features a selection of favorite New York City and State artisanal beers. The beer hall hours are: Tuesday-Thursday and Saturdays: 2pm-6pm Fridays: 2pm-8pm Sundays: 2pm-5pm
Taryn Simon: A Living Man Declared Dead and Other Chapters I-XVIII - Museum of Modern Art (MoMA)
This exhibition is the U.S. premiere of Taryn Simon's (b. 1975, New York) photographic project A Living Man Declared Dead and Other Chapters I-XVIII. The work was produced over a four-year period (2008-11), during which the artist travelled around the world researching and documenting bloodlines and their related stories. In each of the 18 "chapters" that make up the work, external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. The subjects Simon documents include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. Simon's project is divided into 18 chapters, nine of which will be presented at MoMA. Each chapter is comprised of three segments: one of a large portrait series depicting bloodline members (portrait panel); a second featuring text (annotation panel); and a third containing photographic evidence (footnote panel). A Living Man Declared Dead and Other Chapters I-XVIII exploits photography's capacity to at once probe complex narratives in contemporary politics and organize this material according to classification processes characteristic of the archive, a system that connects identity, lineage, history, and memory.
Bellini, Titian, and Lotto North Italian Paintings from the Accademia Carrara, Bergamo - Metropolitan Museum of Art
The Accademia Carrara, Bergamo, is a jewel among Italian museums and a haven for art lovers. Founded at the end of the eighteenth century by Count Giacomo Carrara and housed in a beautiful Neoclassical building, it contains a range of masterpieces dating from the fourteenth to the nineteenth century. At its core is a group of outstanding pictures from the Renaissance. Because of closure for restoration, it has been possible for the museum to lend to The Metropolitan Museum of Art fifteen masterpieces by Venetian and north Italian painters of the fifteenth and sixteenth centuries, including works by Bellini, Titian, and Lorenzo Lotto.
Ellsworth Kelly Plant Drawings - Metropolitan Museum of Art
One of the foremost artists of our day, Ellsworth Kelly (American, b. 1923) may be best known for his rigorous abstract painting, but he has made figurative drawings throughout his career, creating an extraordinary body of work that now spans six decades. There has never been a major museum exhibition dedicated exclusively to the plant drawings. The selection of approximately eighty drawings begins in 1948 during Kelly's early sojourn in Paris and continues throughout his travels to his most recent work made in upstate New York.
Dürer and Beyond: Central European Drawings in The Metropolitan Museum of Art, 1400-1700 presents a selection of 100 works from the Museum's outstanding holdings of German, Swiss, Austrian, and early Bohemian drawings. Works by later 16th– and 17th–century artists are balanced by a group of drawings from the early 16th century, including an exceptional double-sided self-portrait by Albrecht Dürer. In addition to drawings by other major artists such as Martin Schongauer, Albrecht Altdorfer, Urs Graf, Hans Holbein the Elder, Joseph Heintz the Elder, Wenzel Hollar, and Joachim von Sandrart the Elder, the exhibition highlights works by lesser-known, but equally fascinating, draftsmen of the 15th to 17th century. The selection of drawings in the exhibition is enhanced by comparative material, including prints, illustrated books, paintings, glass roundels, and decorative objects also from the Museum's collection, as well as by loans from the Pierpont Morgan Library and private collections. The exhibition will be featured on the Museum's website at www.metmuseum.org.
Illuminated - The Rubin Museum
Gold, silver, and other precious materials were often used to adorn objects of religious devotion, especially the sacred books of the living traditions of Buddhism, Hinduism, Jainism, Christianity, and Islam. Materials used to produce them have always been of the best quality worthy of sacred texts, and their effectiveness often rested on the measure of their lavish production. Specifically, the exhibition Illuminated: The Art of Sacred Books explores the aesthetic and technological approaches used in creating and adorning sacred books from a variety of cultures and presents Tibetan sacred books in a broad cross-cultural context. Among featured objects are several never before displayed illuminated Tibetan manuscript pages and complete books dating as early as the 13th century written in gold and silver on dark blue and black paper of various sizes in the traditional Tibetan book format. Through an in-depth examination of the comparable attitudes found in the presented objects, the exhibition provides new insights into what is known as the culture of the book. Other highlights from the exhibition include a bifolio of the famous "Blue Qur'an," written in gold on indigo colored velum in Tunisia between the 9th and 10th centuries; a Japanese Buddhist Sutra scroll written in gold on indigo paper in 1720; medieval Gospels written in gold letters on blue and purple parchment; illuminated pages of Jain Sutras; and illustrated Indian Hindu classics. In addition to these various lavishly decorated books of different faiths, created in diverse formats and materials, the exhibition also includes adorned book covers that are painted, carved from wood, and made of leather or silver repouss� as well as other objects, designated as sacred and recognized for their value as both art and devotional objects.
New Practices New York 2012 - Center for Architecture
New Practices New York, a biennial competition since 2006, serves as the preeminent platform in New York City to recognize and promote new and innovative architecture and design firms. The juried portfolio competition is sponsored by the New Practices Committee of the AIA New York Chapter and honors firms that have utilized unique and innovative strategies, both for the projects they undertake and for the practices they have established. Seven promising and pioneering new architecture and design firms working in New York were chosen as the New Practices New York 2012 competition winners. To qualify for the competition, practices had to be founded since 2006 and be located within the five boroughs of New York City. This is the second year that the New Practices New York competition has been open to multidisciplinary firms, widening the field of entrants to designers and young professionals in the process of becoming licensed architects. The distinguished panel of jurors selected the competition's winners from fifty-one entries. The New Practices New York 2012 competition winners are: ABRUZZO BODZIAK ARCHITECTS; Christian Wassmann; formlessfinder; HOLLER architecture; The Living; MARC FORNES & THEVERYMANY; and SLO Architecture.
Naked before the Camera - Metropolitan Museum of Art
Since the beginning of art and in every medium, depicting the human body has been among the artist's greatest challenges and supreme achievements, as can so easily be seen by Museum visitors walking through the galleries of Greek and Roman statuary, African and Oceanic art, Old Master paintings, or Indian sculpture. Tapping veins of mythology, carnal desire, hero worship, and aesthetic pleasure, depictions of the nude have also triggered impassioned discussions of sin and sexuality, cultural identity, and canons of beauty. Controversies are often aroused even more intensely when the artist's chosen medium is photography, with its accuracy and specificity -- when a real person stood naked before the camera -- rather than traditional media where more generalized and idealized forms prevail. In the medium's early days -- particularly in France, where Victorian notions of propriety held less sway than in England and America, and where life drawing was a central part of artistic training -- photographs proved to be a cheap and easy substitute for the live model. While serving painters and sculptors, many nineteenth-century photographic nudes were also intended as works of art in their own right. Still others bore the title "artist's study" merely to evade government censors and legitimize images that were, in fact, more likely intended to stir a gentleman's loins than to enhance his aesthetic endeavors. Outside the realms of art and erotica, photographic nudes were made to aid the study of anatomy, movement, forensics, and ethnography. In twentieth-century art, the body became a vehicle for surreal and modernist manipulation and for intimate odes to beauty or poems to a muse. Beginning with the sexual revolution of the 1960s, nudity and its representation took on new meanings -- as declarations of freedom from societal strictures, as assertions of individual identity, as explorations of sexuality and gender roles, and as responses to AIDS. Naked before the Camera surveys the history of this subject and examines some of the motivations and meanings that underlie its expression.
Museum as Hub: Carlos Motta: We Who Feel Differently - New Museum
"Museum as Hub: Carlos Motta: We Who Feel Differently" is a multipart project that explores the idea of sexual and gender "difference" after four decades of Lesbian, Gay, Bisexual, Trans, Intersex, Queer, and Questioning politics. Through an exhibition, series of events, and an opening symposium, the project seeks to invigorate discussion around a queer "We" that looks beyond tolerance or assimilation toward a concept of equality that provides for greater personal freedom. The project draws from Motta's evolving database documentary wewhofeeldifferently.info, which proposes "difference" as a profound mode of possibility for both solidarity and self-determination.
Sharon Hayes: There's So Much I Want to Say to You - Whitney Museum of American Art
Sharon Hayes (b. 1970) is a New York–based artist whose work in photography, film, video, sound, and performance examines the nexus between politics, history, speech, and desire. This exhibition, conceived by Hayes for the Whitney's third floor galleries, brings together existing pieces and newly commissioned works, all of which articulate forms of what Hayes calls "speech acts." The works are presented within an environment designed by Hayes in collaboration with artist Andrea Geyer.
Ellsworth Kelly: Sculpture - Morgan Library & Museum
As part of its summer program of sculpture exhibitions in the Gilbert Court, the Morgan will present three major sculptures by renowned abstract artist Ellsworth Kelly. Spare and elegant, Kelly's free-standing totemic forms -- one in bronze, the other two in mahogany and redwood -- exude the same quiet and spectacular beauty as his better-known, brightly colored paintings. The exhibition will also include a group of models and drawings that reveal the artist's process.
Raw Cooked: Ulrike Muller - Brooklyn Museum
The fifth exhibition in the Raw/Cooked series presents the work of Sunset Park-based artist Ulrike Muller. With the goal of starting a conversation on the lesbian feminist movement and examining the visibility of queer bodies within mainstream culture and the Museum, Muller orchestrated a collaborative drawing project based on the inventory list of the feminist T-shirt collection at the Lesbian Herstory Archives in Park Slope, Brooklyn. She distributed textual T-shirt descriptions to feminists, queer artists, and other interested New Yorkers, and asked that they translate these texts into new images. Her exhibition includes one hundred drawings from this project. Additionally, she used symbolic lesbian, feminist, and queer terms from the inventory as search criteria to mine the Museum's online collection. Through the display of approximately one h