Things to do this week in NYC Jun 23-Jun 30: MuseumsJune 23, 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.
Raw/Cooked: Heather Hart - Brooklyn Museum
The fourth exhibition in the Raw/Cooked series presents the work of Bedford-Stuyvesant-based artist Heather Hart. Hart built a large-scale structure titled The Eastern Oracle: We Will Tear the Roof Off the Mother for display in the Museum's fifth-floor rotunda. She describes the work as "an independent rooftop, removed from its house, and dropped from the sky to live its own life in a new context. A rooftop can refer to home, stability, or shelter, but in this context, it is also an action of reclaiming power." The work makes reference to the Museum's ancient Egyptian and African collections and to the Jan Martense Schenck House, a two-room structure built in 1676 that is Brooklyn's second-oldest example of Dutch-American architecture, and the oldest architecture in the Museum's period room collection.
Phyllida Barlow: siege - New Museum
"Phyllida Barlow: siege" is the first New York solo exhibition of the work of British sculptor. For her New Museum presentation, Barlow will create a new, site-specific sculptural installation in the Museum's fourth floor gallery. This exhibition is part of a series focusing on a single project or body of work within an artist's larger practice. The series began last May with presentations by Apichatpong Weerasethakul and Gustav Metzger. Barlow has been a seminal influence on British sculpture for the past forty years, having taught a generation of notable British artists. She began making work in the early 1970s, breaking away from earlier British sculpture exemplified by the formal abstractions of artists such as Anthony Caro. Inspired by American sculptors like Eva Hesse, Barlow embraced a mode of working that drew stronger ties between the sculpture and the artist's body. She also took on a broader and more experimental approach to the materials she manipulates. Her works consist of disparate substances such as concrete, felt, wooden pallets, polystyrene, and fabric, often within the same work. These materials are a reflection of the urban environment in which she works and are often sourced directly from the streets. Barlow's sculpture takes on an ephemeral, contingent quality as works assembled on site will often be broken down after an exhibition and recycled into future work. Since the beginning of her career, Barlow's sculptures have been appreciated for their playful formalism and the relationship they have to the built environment -- often inspired by objects that direct or impede our movement through space. Barriers, scaffolding, and security fences are reinterpreted into rough-hewn constructions with exuberantly painted surfaces. Assembling her sculptures quickly and intuitively, they become distant memories of objects rather than faithful reconstructions. In her installations, Barlow scales her work to fully inhabit and transform a given architectural space. Ranging from intimately scaled objects occupying corners and corridors, to works that take on an imposing and overwhelming scale, her installations challenge and parody the heroic monumentalism of her predecessors. Barlow reveals that sculpture can accurately capture the joyfulness, absurdity, and transience of life. Phyllida Barlow was born in 1944 in Newcastle-upon-Tyne, England. She currently lives and works in London, England. Barlow attended Chelsea School of Art, London, and then the Slade School of Fine Art, London, graduating in 1966. She taught sculpture in London art schools for over forty years, retiring in 2008. She has had solo exhibitions at venues including the Henry Moore Foundation, Leeds, England (1995), Baltic Centre for Contemporary Art, Gateshead, England (2004), BAWAG Contemporary, Vienna, Austria (2010), and the Kunstverein Nurnberg, Germany (2011). Barlow has participated in group exhibitions at the Kunstmuseum Basel, Switzerland, Bergen Kunsthall, Norway, Haus der Kunst, Munich, Germany, and with Nairy Baghramian at the Serpentine Gallery, London. She is the recipient of the 2012 Aachen prize and will have an exhibition at the Ludwig Forum, Aachen, Germany, also in May 2012. "Phyllida Barlow: siege" is curated by Gary Carrion-Murayari, Curator.
Ellen Altfest: Head and Plant - New Museum
This May in the Lobby Gallery, the New Museum will feature the first solo museum presentation of the work of New York-based artist Ellen Altfest. Altfest is a figurative painter whose intimately scaled works convey a distinct approach to realism and a sustained commitment to looking. Her painstaking depictions result in paintings that expand perception while exposing overlooked or under-appreciated aspects of her subject matter. Painting from life, over a long period of time, she chooses subjects ranging from plants, rocks, logs, and gourds to a more recent fascination with the male figure. The exhibition at the New Museum will present a group of works from this latest series. Folds of skin, an opened armpit, a tuft of hair, the delicate veins in the hand -- discrete elements of ordinary male bodies -- are intensely scrutinized and rendered in exquisite detail with immeasurable care. A universe of information lies within the shallow depth of field and thin layers of oil paint that comprise each work. This excess of information renders Altfest's figures unfamiliar and abstract, as if one were seeing these parts of the body for the first time. Eschewing traditional compositional formats in favor of unexpected cropping and juxtapositions, Altfest creates a compelling friction in the picture plane. Head and Plant (2010), as the title denotes, is a painting of a male head and a potted cactus. The conventions of portraiture are upended, however, by Altfest's decision to obstruct the face of the male figure with a plant. Instead of an identifiable visage, one is met with the confounding presence of a cactus, whose intrusion appears as matter of fact as it is absurd. The Back (2008-2009) depicts a body on its side, turned away from the viewer. Errant hairs, pink blemishes, and the curve of a shoulder blade serve as landmarks on this vast expanse of corporeality. With a heightened sense of realism and a narrowing of focus, Altfest reveals the extraordinary complexity of ordinary things. Ellen Altfest was born in 1970 in New York City. She received her MFA from Yale University and attended Skowhegan School of Painting and Sculpture in 2002. She has been awarded residencies at the Chinati Foundation, Marfa, Texas, where she presented a solo exhibition, and the Dorland Mountain Art Colony, Temecula, California. Her work was included in 'USA Today' at the Royal Academy of Arts, London, the National Academy Museum's Annual Exhibition in New York and will be featured in 'It is what it is. Or is it?' at the Contemporary Arts Museum Houston. She currently lives and works in New York City. 'Ellen Altfest: Head and Plant' is curated by Jenny Moore, Assistant Curator.
American Museum of Natural History's World Premiere of Coral: Rekindling Venus - American Museum of Natural History
The American Museum of Natural History, in collaboration with the World Science Festival, presents the dome premiere of Coral: Rekindling Venus, a new video installation created by Australian artist Lynette Wallworth. The installation immerses viewers in the stunning underwater realm of fluorescent coral reefs and exotic sea creatures, highlighting the complexity of coral ecosystems and their struggles to handle environmental stresses such as rising ocean temperatures. Additional opportunities to see the installation will be available in the Hayden Planetarium and the Milstein Hall of Ocean Life throughout June. The installation’s premiere heralds a rare celestial occurrence, the transit of Venus, when the cloud planet passes between the Earth and Sun. During the transit of Venus in 1761, scientists around the world worked to measure the distance from the Earth to the Sun in a unique act of global cooperation. This June, Venus will once again pass between the Earth and the Sun. Wallworth uses Venus’s transit as a rallying point for global cooperation around this century’s pressing issue: climate change. Coral: Rekindling Venus free-falls through an oceanic constellation of sea anemones, jellyfishes, red sea dragons, seals, lionfishes, kelp forests, crinoids, starfishes, Christmas tree ferns, whale sharks, and brain corals, fluorescent corals, and soft corals. Featuring the musical artists Antony and the Johnsons, Fennesz and Sakamoto, Gurrumul, Max Richter, and Tanya Tagaq-Gillis, the installation is the culmination of Wallworth’s ongoing concern with the fragile health of the planet’s marine environment. The artist worked with renowned underwater cinematographer David Hannan, who filmed in the oceans and seas around Papua New Guinea and the Great Barrier Reef, as well as with cinematographers based in Indonesia and Florida, and musicians and marine biologists from all over the world. Lynette Wallworth is an Australian artist working in video installation, photography, and film. Her work has been presented internationally, including at Brighton Festival, Arnolfini, the BFI, and the Young Vic in the UK, Festival d'Aix en Provence in France, Lincoln Center for the Performing Arts in New York, and at the Auckland Triennial, Melbourne International Arts Festival, Adelaide Film Festival, and the Sydney Festival. Several presentations of Coral: Rekindling Venus will be offered in the Hayden Planetarium and the Milstein Hall of Ocean Life. • Tuesday, June 5 at 6:30 pm: At 5:30 pm, as Venus passes directly between the Earth and Sun, the Museum will host a live simulcast of this rare transit from the Mauna Kea Observatory in Hawaii. At 6:30 pm, program participants can watch a screening of Wallworth's Coral: Rekindling Venus in the Hayden Planetarium Space Theater. • Sunday, June 10 as 5 pm: As part of the Milstein Science Series program Great Barrier Reef, a special immersive presentation of the installation will be held in the Hayden Planetarium. The Milstein Science Series is proudly sponsored by the Paul and Irma Milstein Family. • Monday, June 11 to Sunday, June 24: The installation will screen continuously throughout the day during Museum hours in a special mini-dome presentation in the Milstein Hall of Ocean Life.
Unnatural Formations: Three Contemporary Photographers - Scandinavia House: The Nordic Center in America
The American-Scandinavian Foundation celebrates the 100th anniversary of its Fellowship program with an exhibition featuring the work of three recent grant recipients -- Stephen Hilyard, Simen Johan, and Lydia Anne McCarthy – who have emerged as innovators in the field of contemporary landscape photography. The exhibition offers a unique look at hybrid photographs where disparate and sometimes dissonant images are woven together to create new, hypothetical landscapes.
Dan Flavin: Drawing - Morgan Library & Museum
Best known for his fluorescent light installations, Dan Flavin was also an avid draftsman. This first retrospective of his drawings will include over one hundred sheets representing every phase of his career: early abstract expressionist watercolors of the 1950s, studies for light installations, portraits and landscape sketches, and pastels of sailboats from the 1980s. In addition, the exhibition will feature nearly fifty works from Flavin's personal collection of drawings, including nineteenth-century American landscapes by Hudson River School artists, Japanese drawings, and twentieth-century works by artists such as Piet Mondrian, Donald Judd, and Sol LeWitt.
Stanya Kahn - New Museum
Stanya Kahn's videos offer glimpses into alternate worlds populated by bizarre characters, mummified animals, natural forces, and primal impulses. Happy Song for You (2011), made with legendary artist Llyn Foulkes, demonstrates Kahn's unique approach to storytelling in which humor and absurdity function as central forces. Featuring an original song written and performed by Foulkes, the video is set to a carefully crafted soundtrack, a signature element of Kahn's work. Happy Song for You will be exhibited alongside a selection of ink-on-paper drawings that extend Kahn's comedic writing into the graphic practice of cartooning. Stanya Kahn (b. 1968) lives and works in Los Angeles. Her videos were recently featured in 'Two Schools of Cool' and the California Biennial, both presented at the Orange County Museum of Art, Newport Beach, CA. Her video It's Cool, I'm Good (2010) won the jury prize for short fiction at the Migrating Forms Festival in New York City in 2010 and she recently received a 2012 Guggenheim Fellowship. She will have a solo show at Cornerhouse, Manchester, UK, in June 2012. This is Kahn's first New York solo museum presentation. This presentation is organized by Jenny Moore, Assistant Curator, and is part of the Museum's 'Stowaways' series -- a constellation of episodic projects and spontaneous interventions in spaces throughout the New Museum.
Tacita Dean: Five Americans - New Museum
This May, the New Museum will present an exhibition of works by British artist Tacita Dean -- the most substantial presentation of the artist's work in New York to date. The presentation focuses on a group of recent pieces that capture five important American artists and thinkers of the last fifty years and features Merce Cunningham, Leo Steinberg, Julie Mehretu, Claes Oldenburg, and Cy Twombly. These works are beautifully crafted portraits of each individual, opening a lens onto their artistic processes and personal memories. This installation, organized in close collaboration with Dean, provides insight into the way in which her filmmaking intersects with painting, sculpture, writing, and dance. This exhibition is part of a series of focus shows concentrating on a single project or body of work within an artist's larger practice which began last May with presentations by Apichatpong Weerasethakul and Gustav Metzger.
Klara Liden: Bodies of Society - New Museum
This May, the New Museum will present the first large-scale, American museum exhibition of the artist Klara Liden, featuring a selection of works in the Museum's second floor gallery. Liden's exhibition at the New Museum is part of a series of focus shows that began last May with presentations by Apichatpong Weerasethakul and Gustav Metzger.
Juan Downey: The Invisible Architect - Bronx Museum of The Arts
Organized in collaboration with the MIT List Visual Arts Center, Juan Downey: The Invisible Architect is the first U.S. survey of this pioneering video artist and brings together more than one hundred works, including drawings, artist's notebooks, paintings, video and photographic installations spanning from early experimental work with art and technology to the groundbreaking video installations from the 1970s through the 1990s. Formally trained as an architect, Downey began experimenting with different art forms when he moved from Paris to Washington DC in 1965. He developed a strong interest in the concept of invisible energy and shifted from object-based artistic practice to an experiential approach, seeking to combine interactive performance with sculpture and video, a transition the exhibition explores. Downey quickly established himself as an avant-garde pioneer of video and technology art and for the next two decades began to explore invisible forms of energy and communication, describing himself as a "cultural communicant" and an "activating anthropologist."
Urban Archives: Emilio Sanchez in the Bronx - Bronx Museum of The Arts
This exhibition presents a group of works by Emilio Sanchez from The Bronx Museum of the Arts Permanent Collection, together with related archival material and a special interpretive project by Bronx-based artist Laura Napier. All the works depict commercial buildings in the Hunts Point area of the South Bronx. With a colorful palette and rigorous architectural design, these works depict the bodegas and auto shops of the Bronx in an almost idyllic style that makes a stark contrast with preconceived views of the borough.
Ship-Shape: Nautical Scale Models - Intrepid Sea, Air & Space Museum
"Ship-Shape: Nautical Scale Models," a new exhibition that examines the detailed process of building model ships at the Intrepid Sea, Air & Space Museum and will be on display through Sunday, July 8, 2012. The exhibition consists of dozens of artifacts including model ships, vintage toy ships, a variety of antique model kit boxes, a mock-up of a modeler's workbench showing the building of a model ship being made in progress and illustrations that demonstrate how models are constructed. Among the highlights of the exhibit are models of the Battleship New Jersey, which served during WWII, the Korean War and Vietnam, and USS Constitution, the oldest commissioned vessel afloat in the world. The model USS New Jersey measures 112" W x 25" H x 15" D and the model USS Constitution measures 57" W x 43"H x 22" D. A modeler's workbench offers a peek at the tools of the trade, while World War II nautical toys illustrate children's fascination with ships. From wartime cardboard models to ships in bottles, the exhibit highlights the dexterity, ingenuity and artistry embodied in these popular collectors' items. "Ship-Shape: Nautical Scale Models" is made possible through the support of the Susan and Elihu Rose Foundation and will be on display through Sunday, July 8, 2012. The exhibit is free with museum admission. For more information, visit www.intrepidmuseum.org.
Keith Haring: 1978-1982 - Brooklyn Museum
Keith Haring: 1978-1982 is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring's extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs. The exhibition chronicles the period in Haring's career from his arrival in New York City through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York's downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative cultural figures of the period. The critical role that these relationships played in Haring's development as a public artist and facilitator of group exhibitions and performances will also be explored. Pieces on view will include a number of very early works never before seen in public; seven video pieces, including Haring Paints Himself into a Corner (his first video piece) and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers.
Women in Aviation: World War II - Intrepid Sea, Air & Space Museum
In 1910, Raymonde de Laroche of France became the first woman to earn a solo pilot's license. Just three decades after de Laroche earned her license, the world was engulfed in a terrible war. Aviation promised to play a critical role in the conflict. Seeing an opportunity to contribute their talents, female pilots lobbied their governments for a chance to serve. Women in Aviation: World War II examines the wartime contributions of these pioneering women. American women took to the skies under the auspices of the Women Airforce Service Pilots, the Civil Air Patrol and aircraft manufacturing companies such as Grumman. Female pilots ferried airplanes from base to base. They tested powerful warplanes fresh off the assembly line and flew patrol missions around the country. Behind the scenes, female engineers helped produce rugged warplanes. More than many women, female pilots challenged traditional ideas of what a woman could accomplish. At war's end, society expected women to return to their quiet lives as wives and homemakers, and most women who hoped to continue their flying careers found little opportunity. Decades passed before America's female aviators received formal recognition for their wartime service. Women in Aviation: World War II features original artifacts including flight suits and gear, uniforms, pilot log books, archival materials and photographs. Vintage film footage shows women breaking records, winning air races, and training to serve their country. The exhibition, opening on March 1st and running through July 8th, is free with general admission and will be located in the Hangar 2 Gallery.
Byzantium and Islam - Age of Transition - Metropolitan Museum of Art
The Eastern Mediterranean, from Syria across North Africa, comprised the wealthy southern provinces of the Byzantine Empire at the start of the seventh century. By that century's end, the region was central to the emerging Islamic world. This exhibition will be the first to display the complex character of the region and its exceptional art and culture during the era of transition -- from its role as part of the Byzantine state to its evolving position in the developing Islamic world. The dialogue between established Byzantine and evolving Islamic styles and culture will be shown through images of authority, religion, and especially commerce. Iconoclasm as it emerged during that period among the Christian, Jewish, and Islamic communities of the region will be addressed.
Casting the Divine - The Rubin Museum
A group of 104 sculptures on long-term loan to the Rubin Museum of Art will be exhibited together for the first time in the United States. A selection of the works was previously exhibited at the Ashmolean Museum in Oxford, in the United Kingdom, in 1999. The collection is known as the Nyingjei Lam Collection, which means "path of compassion."
Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art - Grey Art Gallery at NYU
Throughout history, artists have sought new ways to tell stories through visual means. Comprised of works from collections at the Blanton Museum of Art at The University of Texas at Austin, Storied Past presents French perspectives on dramatic narrative from the 16th through 19th centuries. Biblical, historical, mythological, and contemporary characters abound in drawings by artists such as Jacques Callot, François Boucher, Théodore Rousseau, Jean-Louis Forain and Théophile Alexandre Steinlen. Featuring more than fifty works, the exhibition reveals the expressive and technical range of French drawing through preliminary sketches, figure studies, and finished compositions—executed in a variety of media on paper. Tracing shifts in the history of French drawing, Storied Past explores the role of the Academy, the influence of Italian art, and the development of distinctive tastes in style and subject matter. In the 17th and 18th centuries, French artists flocked to Rome, a mecca of artistic experimentation and patronage. Italy's allure permeates much of the subject matter and aesthetics on view in Storied Past. Classical iconography proliferates: Venus and Cupid luxuriate among river gods; Neptune commands the seas; and Hercules arrives triumphantly at Mount Olympus. In the 19th century—a time of great industrial, political, and artistic transformation—many artists abandoned idealism and classicism for realist approaches. Scenes of everyday life took prece- dence over the previously popular religious and heroic themes. The "storied past" of the show's title refers not only to the narrative subjects favored by French artists and their patrons, but also to the individual histories of the works on view: The exhibition labels present curators and conservators' analyses of the works' techniques, materials, and provenance. By illuminating the narratives of the drawings as well as in their subject matter, Storied Past offers insight into the fundamental relationship between the visual arts and storytelling.
The Greatest Grid: The Master Plan of Manhattan, 1811-2011 - Museum of the City of New York
The Greatest Grid: The Master Plan of Manhattan, 1811-2011 celebrates the 200th anniversary of the Commissioners' Plan of 1811, the foundational document that established Manhattan's famous street grid. Featuring an original hand-drawn map of New York's planned streets and avenues prepared by the Commission in 1811, as well as other rare historic maps, photographs and prints of the evolution of the city's streets, and original manuscripts and publications that document the city's physical growth, the exhibition examines the grid's initial design, implementation, and evolution. The Greatest Grid traces the enduring influence of the 1811 plan as the grid has become a defining feature of the city, shaping its institutions and public life. The exhibition is accompanied by a book of the same name, edited by Hilary Ballon of NYU, who also curated the exhibition, and co-published by the Museum and Columbia University Press.
Projects 97: Mark Boulos - Museum of Modern Art (MoMA)
Boulos's installation All that Is Solid Melts into Air (2008), comprised of two large-scale videos, presents two communities on opposite ends of the world, each locked in a struggle to control oil. Oil surrounds us on a daily basis, and yet we are scarcely aware of its source or presence; when refined into products, petroleum gives no clue as to its origin or its physical form. Boulos's installation, however, begins to make visible the mechanisms of this process of abstraction, and the political conditions that these objects conceal. In one video, Boulos shows traders in the Chicago Mercantile Exchange on the first day of the 2008 credit crisis. In the other video, Boulos presents footage of his experience living with Nigerian fishermen -- members of the militant group Movement for the Emancipation of the Niger Delta, which opposes through violent means the exploitation of people and devastation of the environment in one of the largest oil fields in the world. The individuals in these two landscapes are connected through a desire to control petroleum, which vanishes into thin air, in the first instance through financial speculation, and in the second through corporate regulation of Nigerian mines. All that Is Solid Melts into Air provokes timely questions about the ongoing fight over natural resources, and the power of social mechanisms, such as financial derivatives, to shape the lives of individuals and communities while obfuscating their very connection to those affected. Mark Boulos (American, b. 1975) is an artist and filmmaker who lives and works in Amsterdam and London. He studied visual art at the Rijksakademie in Holland as a Fulbright Scholar, documentary filmmaking at the National Film and Television School in England, and philosophy at Swarthmore College and Deep Springs College.
Kehinde Wiley / The World Stage: Israel - The Jewish Museum
One of the most significant young artists today, Kehinde Wiley is known for vibrant, large-scale paintings of young urban men, rendered in the self-confident, empowered poses typical of classical European portrait painting. Part of a new series exploring the global diaspora, the works in The World Stage: Israel are based on photographs the artist took of men of diverse religions and ethnicities living in Israel. The detailed decorative backgrounds are based on Jewish ceremonial art. The exhibition includes 14 paintings and a selection of textiles and papercuts chosen by the artist from The Jewish Museum's collection.
Antico: The Golden Age of Renaissance Bronzes - Frick Collection
Antico: The Golden Age of Renaissance Bronzes is the first monographic exhibition in the United States dedicated to Pier Jacopo Alari de Bonacolsi, known as Antico (c. 1455-1528). As sculptor to the Gonzaga courts at Mantua and in northern Italy, Antico earned his name, "the antique one," for his creation in the classical style of statuettes, reliefs, and busts that are distinguished by their opulence and beauty. Using inventive and highly refined techniques, Antico lavishly gilded, silvered, and patinated his works, elevating his bronze sculptures to the status of the ancient precious objects that were avidly collected by his Gonzaga patrons. Splendid and timeless, Antico's works represent a sophisticated court style and have always been exclusive and rare. Today fewer than fifty of his bronzes are known. Dispersed among museums in Europe and America, nearly forty of them will come together in this unprecedented presentation. 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.
The Printed Image in China, 8th-21st Century - Metropolitan Museum of Art
China invented both paper and printing and this exhibition presents an outstanding survey of the art of Chinese printing from the time of its inception around the early eighth century through its burgeoning as an artistic medium during the seventeenth century and its continued vitality as a medium for both popular culture and political commentary during the twentieth century. The exhibition will consist of approximately 136 prints drawn from the encyclopedic holdings of the British Museum.
Foreclosed: Rehousing the American Dream - Museum of Modern Art (MoMA)
Foreclosed: Rehousing the American Dream is an exploration of new architectural possibilities for cities and suburbs in the aftermath of the recent foreclosure crisis. During summer 2011, five interdisciplinary teams of architects, urban planners, ecologists, engineers, and landscape designers worked in public workshops at MoMA PS1 to envision new housing and transportation infrastructures that could catalyze urban transformation, particularly in the country's suburbs. Responding to The Buell Hypothesis, a research report prepared by the Buell Center at Columbia University, teams -- lead by MOS, Visible Weather, Studio Gang, WORKac, and Zago Architecture -- focused on a specific location within one of five "megaregions" across the country to come up with inventive solutions for the future of American suburbs. This installation presents the proposals developed during the architects-in-residence program, including a wide array of models, renderings, animations, and analytical materials.
Isa Genzken - Rose II - New Museum
Standing twenty-eight feet tall, acclaimed German artist Isa Genzken's Rose II (2007) is the second sculpture to be presented as part of the New Museum's ongoing Fa�ade Sculpture Program since the building's completion in December 2007. This is Isa Genzken's first public artwork in the United States. A crucial figure in Post-war contemporary art, Genzken is a sculptor whose work re-imagines architecture, assemblage, and installation, giving form to new plastic environments and precarious structures. The artist represented Germany at the 2007 Venice Biennale and has shown her work in leading museums across Europe. She was among a group of prominent international artists featured in the exhibition "Unmonumental," the survey that inaugurated the New Museum's SANAA building. Rose II was originally created in 1993 and reprised in 2007. It is the culmination of a practice that explores the way we perceive objects and images through our senses; the implications of scale; and the integration of architecture, nature, and mass culture. Although Genzken is a longtime resident of Berlin, she has had a forty-year love affair with New York City, which began when she first visited as a student. Looking back on that experience, she has commented, "To me, New York had a direct link with sculpture� (It) is a city of incredible stability and solidity." The installation of Rose II can be seen as a tribute to a place Genzken continues to love. .
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.
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, heartbr