art boars: an art and culture source

Kim Keever

2012-01-24T14:16:00.000-05:00

Kim Keever's Studio

Jennifer and Kevin McCoy

2012-01-06T07:15:00.000-05:00

Installation View

Extended though January 21, 2012 at 601ARTSPACE

For Installation View, the McCoys bend their artistic practice of revealing how meaning is made, to focus on how meaning is displayed. Their curatorial effort here aims to discover the private lives of art works. As an intervention into 601’s affiliated collection, they have created a site-specific exhibition out of non-site-specific art. Whether situated outdoors, in a guesthouse, or in an artist’s studio, Installation View shows artworks the way they more frequently exist, instead of in a state of exhibition. Playing off of Louise Lawler’s ongoing practice of capturing art behind the scenes, the McCoys will project images from a network of live feed cameras in order to better observe the natural habitats of art.

Guy Laramée

2012-01-06T06:54:00.000-05:00

Thoreau, 2010

Elpida Hadzi-Vasileva

2012-01-02T08:06:00.000-05:00

"Reoccuring Undulation," 2011. Salmon skins on zinc plated tiles, 960 tiles of 20cm x 20cm.

Mike Nelson

2012-01-02T07:58:00.002-05:00

Mike Nelson: A Psychic Vacuum / Old Essex... by vernissagetv

This is a remix of a never published documentary of the installation A Psychic Vacuum that British artist Mike Nelson set up in the Old Essex Market New York City’s Lower East Side in September / October 2007. Mike Nelson transformed the disused interior of the Essex Street market in a labyrinth of reconstructed rooms

Around the Corner, Inadvertent Galleries

2012-01-02T07:41:00.000-05:00

By ROBERTA SMITH

Published: August 24, 2011

New York City is full of officially sanctioned artworks. Bless them all, and lucky us. At any given moment there are great quantities of them to be seen and enjoyed, clearly labeled, in museums, alternative spaces and art galleries, not to mention parks and plazas.

But the city also has an abundance of inadvertent not-quite-art available for viewing, if you are open to it. These anonymous, unsung works are even more public. Especially in summer, when we tend to do more walking at a more leisurely pace, they lie in wait around just about every corner and down every street. Yet they are more private, too, since it is entirely up to us to recognize and appreciate them.
As an art critic, I am always buoyed by these artish nonart experiences. Among the many joys of urban pedestrianism, they sharpen my understanding of art’s sensory effects while broadening my appreciation of the aesthetic byproducts of more workaday activities.
These experiences may be more common now than they used to be, thanks to the influence of Minimalism and especially Post-Minimalism, with its roil of installation-, Process-, Conceptual- and Land-Art practices. These movements permanently enlarged art’s footprint and blurred its borders, greatly increasing the number of accidental artworks available for appreciation by expanding our ability to appreciate them.
In other words, as art has become more like life, life has become more peppered with things and experiences that offer some of the sensory and even intellectual pleasures of art. An example of this expansion is the frequency with which the phrase “performance art” is used by journalists — many of whom may never have seen a single work of performance art — to characterize some form of real-life behavior.....

Laurel Nakadate

2012-01-02T07:29:00.000-05:00

Exorcism in January, 2009

Jennifer & Kevin McCoy

2012-01-02T07:06:00.000-05:00

Clouds 11 - Trees. After a Stieglitz 'Equivalent' photo.

Sara Greenberger Rafferty

2012-01-02T06:56:00.000-05:00

"Pat," 2011, c-print,

Klaus Weber

2012-01-02T06:38:00.000-05:00

The Big Giving, London, UK, 2007. [via]

Luis Camnitzer

2012-01-02T06:29:00.000-05:00

KAWS

2012-01-02T06:13:00.000-05:00

Mounir Fatmi

2012-01-02T06:00:00.000-05:00

Time/Food

2012-01-02T05:55:00.003-05:00

"Ketchup is a vegetable." Ronald Reagan Administration, 1981.

Time/Food
September 24–October 16, 2011
Thursday through Sunday, 11 AM–8 PM
Lunch served between 1–3 PM

e-flux.com/timebank

Abrons Arts Center
466 Grand Street
NY, NY 10002
henrystreet.org

On Saturday, September 24, Time/Bank will open Time/Food, a New York City branch in the form of a temporary restaurant on the Lower East Side, offering daily lunch in exchange for time credits and time currency that you can earn by helping others in the Time/Bank community.

The Time/Food restaurant, located at Abrons Arts Center at 466 Grand Street, will be open for lunch service September 24–October 16, 2011, Thursdays through Sundays, from 1–3 pm. There will be a changing menu of meals prepared with recipes provided by a group of artists who like to cook, including Martha Rosler, Carolina Caycedo, Julieta Aranda, Paul Chan, Lawrence Weiner, Ingrid Erstad, Liam Gillick, WAGE (Working Artists and the Greater Economy), Carlos Motta, Superflex, Pierre Huyghe, Alejandro Cesarco, Mariana Silva, Raqs Media Collective, AA Bronson, Anton Vidokle, Sina Najafi/Cabinet, Jason Sinopoli, and others. On Sunday, September 25, the guest chef will be Rirkrit Tiravanija.

Time/Food is a fully functional restaurant inspired by the Mexican comida corrida—informal restaurants serving home-style meals of several courses at a fixed price, between about 1 and 3 pm. The price of a meal at Time/Food is One Half Hour.

Functioning both as a visualization of a parallel economy and as its pragmatic deployment, Time/Food is one of several new branches of Time/Bank—a platform that enables groups and individuals to collectively exchange their time and skills through the use of credits earned through the bank, as an intermediary and guarantor, and without the use of money. With a growing pool of nearly two thousand participants around the world, Time/Bank aims to create an immaterial currency and a parallel micro-economy for the cultural community, one that will create a sense of worth for many of the exchanges that already take place within the art field. Time/Bank was initiated by Julieta Aranda and Anton Vidokle in 2009.

Time/Food is commissioned by Creative Time for the exhibition Living as Form curated by Nato Thompson. Many thanks to GrowNYC for providing fresh produce!

Living as Form is an international project exploring over twenty years of cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue, and community engagement. Living as Form provides a broad look at a vast array of socially engaged practices that appear with increasing regularity in fields ranging from theater to activism, and urban planning to visual art. Presented by New York City-based public art organization Creative Time, the project brings together twenty-five curators, documents over 100 artists' projects in a large-scale survey exhibition inside the historic Essex Street Market building, features nine new commissions in the surrounding neighborhood, and provides a dynamic online archive of over 350 socially engaged projects.

Roadside Kitsch Is Fun, but Is It Art? Virginia Museum Sure Hopes So

2012-01-02T05:20:00.000-05:00

Ailing Facility Eyes Sculptor of Oddities; Bigfoot and the Exploding Outhouse

By ROB JOHNSON

ROANOKE, Va.—Mark Cline's fiberglass sculptures of giant ticks and man-eating dinosaurs are the sort of fare that a $66 million art museum would normally keep at arm's length.
But curators at the Taubman Museum of Art have approached Mr. Cline about showcasing some of his unconventional works.

Enlarge Image

Sherry Cline

Mark Cline poses between two fiberglass sculptures he created.

An artist of roadside renown, the 50-year-old Mr. Cline is the creator of towering figures that have beckoned for decades from the rural Virginia tourist attractions he co-owns: "Prof. Cline's Haunted Monster Museum," "Dinosaur Kingdom" and "Hunt Bigfoot with a Redneck." What's more, his carefully crafted beasts are fixtures at miniature golf courses far and wide. "I'm in Myrtle Beach, Orlando and Branson," he says with pride....

IDEA STORE

2012-01-02T05:18:00.000-05:00

Diana Al-Hadid

2012-01-02T05:07:00.000-05:00

irvin morazan

2011-12-31T13:34:00.000-05:00

Return of Xipe Totec

VALIE EXPORT

2011-12-31T12:43:00.000-05:00

via wikipedia
Valie Export’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino ("Tap and Touch Cinema") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, Valie Export wore a tiny "movie theater" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the "theater." She then went into the street and invited men, women, and children to come and touch her. The media responded to Export's provocative work with panic and fear, one newspaper aligning her to a witch. Export recalls, "There was a great campaign against me in Austria."^[5]

In her 1968 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), Valie Export entered an art cinema in Munich, wearing crotchless pants, and walked around the audience with her exposed genitalia at face level. The associated photographs were taken in 1969 in Vienna, by photographer Peter Hassmann. The performance at the art cinema and the photographs in 1969 were both aimed toward provoking thought about the passive role of women in cinema and confrontation of the private nature of sexuality with the public venues of her performances.^[6] Apocryphal stories state that the Aktionshose:Genitalpanik performance occurred in a porn theater and included Valie Export brandishing a machine gun and challenging the audience, as depicted in the 1969 posters,^[7] however she claims this never occurred.^[8]

Do Ho Suh

2011-12-31T12:16:00.000-05:00

Fallen Star 1/5, 2008-2011.

Valerie Hegarty

2011-12-31T11:51:00.000-05:00

Valerie Hegarty "Niagara Falls" 2007 Foamcore, paper, paint, wood, glue, gel medium 150 x 300 x 65 cm

Michel de Broin

2011-12-31T11:36:00.000-05:00

"Majestic," 2011. Courtesy The Third of May Arts Inc.

Lisa Yuskavage

2011-12-31T11:13:00.000-05:00

The Smoker
2008
Oil on linen
60 x 42 inches (152.4 x 106.7 x 3.2 cm)

Allison Schulnik

2011-12-31T10:42:00.000-05:00

bear oil on canvas - 84" x 68 - 2008

You Want to Track Me? Here You Go, F.B.I.

2011-12-29T16:27:00.000-05:00

Hasan M. Elahi
By HASAN M. ELAHI
Published: October 29, 2011
via NYTimes

In an era in which everything is archived and tracked, the best way to maintain privacy may be to give it up. Information agencies operate in an industry that values data. Restricted access to information is what makes it valuable. If I cut out the middleman and flood the market with my information, the intelligence the F.B.I. has on me will be of no value. Making my private information public devalues the currency of the information the intelligence gatherers have collected...

Is It Art, Science or a Test of People?

2011-12-29T13:32:00.000-05:00

By RANDY KENNEDY

via NY TIMES Published: October 25, 2011

Over the past several years art museums have begun to place much more emphasis on a concept they call the “visitor experience.” Few, though, have attempted to define that concept quite as broadly — or as bodily — as the New Museum, which is mounting a career survey of the Belgian-born artist Carsten Höller that opens on Wednesday.

A (greatly abridged) menu of the experiences available to viewers — after they sign a legal waiver and abandon all hope of conventional museumgoing decorum — would read something like this:
Walk around while seeing the world upside down and backward. Hurtle two stories toward the earth in a metal and plastic tube as others watch and, almost certainly, laugh. Ingest an unidentified white pill, or a fistful if you choose. Inhale an amphetaminelike substance said to induce amorous feelings. Feel your nose grow. Feel the walls shift around you. Feel yourself slam face first into a tree at high speed. Or, if you really want to prove your dedication to art, take off all your clothes and lie with friends or strangers in a modified sensory deprivation tank in heavily salinized water, heated to the temperature of human skin....

Wafaa Bilal

2011-12-29T07:48:00.002-05:00

Wafaa Bilal

Cornelia Jensen

2011-12-29T07:44:00.000-05:00

Cornelia Jensen
High Rise
2009 (29" x 15" x 10")
Styrofoam packing material, plastic grass, LED lights

Ant Farm Nablus – Tom Bogaert 2011

2011-12-29T07:04:00.000-05:00

Ant Farm Nablus – Tom Bogaert 2011

2011-12-29T06:43:00.000-05:00

FLORIAN GERMANN
The Poltergeist Experimental Group (PEG) Applied Spirituality and Physical Spirit Manifestation
19 November 2011–15 January 2012

migros museum für gegenwartskunst/ Hubertus Exhibitions

In his wide-ranging cycles of works, each of which is devoted to a unifying thematic narrative, the Swiss artist Florian Germann (b. 1978; lives and works in Zurich) creates complex systems of reference, playing with the role of the artist-researcher. As points of departure for these individual experimental arrangements, Germann uses characters from history such as Napoleon or motifs from myth and fantasy such as lycanthropy (from the Greek lukos, "wolf," and anthropos, "man": the werewolf motif), which he subjects to a revisionary rewriting, interweaving factual and fictional aspects. For his first solo exhibition at an institution, Germann creates an extensive new cycle of works; to be on public display for the first time at the migros museum für gegenwartskunst, it is based on his study of apparitions and their physical substance, the so-called ectoplasm.

Florian Germann's new cycle of works "The Poltergeist Experimental Group (PEG) Applied Spirituality and Physical Spirit Manifestation" examines the phenomena of the Poltergeist and ectoplasm. Germann: "Ectoplasm is a synaesthetic material. It responds to physical moods. That struck me as an interesting point of departure for the creation of bodies that would respond physically to their environments. Ectoplasm, of course, appears in the movie Ghostbusters (1984), where it plays a leading role; but in parapsychology more generally, it is an important 'material of study.' It can also be found in cell biology, where it displays the same characteristics: there too it is a material that changes depending on its environment."

Exhibition's curator: Raphael Gygax

We would provide complete darkness

2011-12-29T06:37:00.000-05:00

Kitty Kraus, "Matrix 158," Wadsworth Atheneum, 2010.
Installation view, courtesy of the artist.

We would provide complete darkness
Heike Baranowsky, Alejandro Cesarco, Sarah Hromack, Angie Keefer, Christoph Keller, Adam Kleinman, Kitty Kraus, Jorge Méndez Blake, Carsten Nicolai, Project Projects

December 2–22, 2011

Goethe-Institut Wyoming Building

www.goethe.de/newyork/completedarkness

Complete darkness envelopes three art works as well as a library. Shutting out light is the prime, physical condition for this exhibition. Light and reflections, in contrast, provide the basic ingredients for the works that explore notions of movement, scale, organization, and orientation. In parallel, a small, twilight library functions as support for the display and distribution of a take-away publication that takes light as a symbolical cue to highlight associations between insight, ordering, conservation, and personal experience.

Beyond the Physical Universe As You Understand It (Still)

2011-12-29T05:56:00.000-05:00

Beyond the Physical Universe As You Understand It (Still)

Adam Davis

(full work)

)

DANE PATTERSON

2011-12-28T14:54:00.001-05:00

DANE PATTERSON

AGAIN, AND AGAIN, AND AGAIN...

The Proposition

NOVEMBER 4 – DECEMBER 18

Patterson’s recent work operates in the system of portraiture and still life, but to these genres he brings a practice deeply influenced by collage and digital manipulation. The result is a body of work that uses visual repetition to explore the representational impulse.

Leigh Bowery

2011-12-28T09:55:00.000-05:00

Lucia

2011-12-16T10:57:00.000-05:00

First part of a two part series of Lucia, Luis et el Lobo by La Casa Lobo
Seen at the Beirut Art Center "Art in the Auditorium III"

LUCIA from diluvio on Vimeo.

LUIS from diluvio on Vimeo.

Broken Homes

2011-12-15T12:04:00.000-05:00

Broken Homes

December 9 - January 22

Momenta Art is pleased to present Broken Homes, a group show featuring work by Francis Cape, Kate Gilmore, Lisa Kirk, Marni Kotak, Anthony Marchetti, Gordon Matta-Clark, Kirsten Nelson, Leah Oates, Naomi Safran-Hon and Peter Scott.

The exhibition Broken Homes presents physical and metaphorical ruptures in domestic spaces. Some of the work in Broken Homes addresses the physical nature of home, the structures and detritus that create illusions of stability and comfort, while others more directly confront the realities of growing up in a variety of unconventional and dysfunctional environments. In whichever direction these works lean, the idea of home remains a contested site for each of us, psychologically and politically. It is a contest that is never resolved. To deconstruct the idea of home is to threaten to dissolve the person formed therein. From Tea Party definitions of marriage to Occupy Wall Street tent cities, notions of home become notions of the ideal community and notions of community become formal questions played out in architecture, planning, and law. To break apart these notions is to promise both the renewal of revolution and the dissolution of hysteria.

Atelier Van Lieshout

2011-12-07T12:43:00.000-05:00

Tajwal

2011-12-07T11:19:00.000-05:00

via The Daily Star

Paulikevitch's Tajwal “Tajwal” (wanderings), a performance by Lebanese artist Alexandre Paulikevitch at Sunflower Theater in Beirut. “To walk in the city is to oscillate between exaltation and total frustration,” Paulikevitch writes in his remarks upon the show. “My body and the city merge and clash.“My walks and flâneries through urban pathways turn into observatories and directories of these transactions.” Photograph: Patrick Baz/AFP

Artifacts | Maurizio Cattelan Gives His ‘All’

2011-11-20T17:17:00.000-05:00

Artifacts | Maurizio Cattelan Gives His ‘All’

CULTURE

By LINDA YABLONSKY

| NOVEMBER 4, 2011, 6:30 PM

David Heald/Solomon R. Guggenheim FoundationAn installation view of Maurizio Cattelan’s “All,” on view at the Guggenheim Museum.

All summer long there were rumors. For his retrospective at the Guggenheim Museum, Maurizio Cattelan had a big surprise in store. He was making a secret new work. He was going to do something that had never been done before. Since Cattelan, 51, has anchored his career to provocation, everyone believed it.

Over the last several weeks, the artist leaked the news that his show would not just include every single work he had ever made, but that he would dangle it all from the top of the Guggenheim’s rotunda, leaving the rest of the museum empty. What’s more, the show would mark his retirement from art-making, leaving him free to pursue projects like “Toilet Paper,” the scabrous and surreal picture magazine he has created with the Milanese photographer Pierpaolo Ferrari. In other words, the retrospective was not going to be just a summing up. It would be the end. It would be, as Cattelan called it, “All.” .....

TOILET PAPER ROLL WORK SERIES

2011-11-20T17:11:00.000-05:00

TOILET PAPER ROLL WORK SERIES: Corner Forest

by Yuken Teruya Studio

"I do not expect to be a mother but I do expect to die alone"

2011-11-20T16:09:00.005-05:00

"I do not expect to be a mother but I do expect to die alone"

a solo exhibition by OLEK
Tony's Gallery, London, UK
January 13 - February 26, 2012

Pretty? Pretty? A Divine Art Show

2011-11-17T08:34:00.001-05:00

Pretty? Pretty? A Divine Art Show

PICTURES ARE WORDS-NOT-KNOWN

2011-11-14T10:43:00.000-05:00

While topics of conceptualism and aesthetics are always of interest. The phrase "The picture is the residue of the work" is a really wonderful expression in this curation.

via Culturehall

PICTURES ARE WORDS-NOT-KNOWN

Selections for Culturehall, from an exhibit at the
Lishui Museum of Photography, China, 2011
Curated by Sean Justice

Western artists are familiar with art of the idea, aka conceptual art—from Fluxus to performance to Relational Aesthetics. And whether or not our own practices directly engage that domain, we're comfortable with a notion of aesthetics that posits "aboutness" as separate from appearance, or content divided from form, because we know that sometimes what a work is about is more important than how it looks. As well, we feel the pull, like gravity, that conceptualism exerts on curators, gallerists, and collectors, and consequently we pour over artist statements that explain everything in a few short sentences....

For some students, though, the work of finding the right question is hidden beneath the glossy surface of an already-found answer. I mean this in a particular way: the picture we're looking at is not the work. The picture is the residue of the work....

Library Science

2011-11-14T10:24:00.001-05:00

Libraries and categorizing have been in forefront of my mind lately with projects at work. Too bad I won't be stateside to see the work in the show.

Mickey Smith

Corroborating Information, detail

2010

One of five archival pigment prints in vintage frames

Overall dimensions variable

Courtesy of the artist and INVISIBLE-EXPORTS

Artspace is pleased to present Library Science, an exhibition curated by Rachel Gugelberger, Senior Curator at Exit Art, New York. Bringing together a selection of work by 17 international artists, Library Science contemplates our personal, intellectual and physical relationship to the library as this venerable institution - and the information it contains - is being radically transformed by the digital era. Through drawing, photography, sculpture, installation, painting and web-based projects, the artists in Library Science explore the library through its unique forms, attributes and systems: from public stacks to private collections, from unique architectural spaces to the people who populate them, from traditional card catalogues to that ever-growing 'cyber-library,' the World Wide Web......

Linked: Intimate Vintage Snapshots of Famous Artists

2011-08-14T14:27:00.000-04:00

Flavorwire

Intimate Vintage Snapshots of Famous Artists

12:30 pm Friday Aug 12, 2011 by Marina Galperina

A seldom seen college-aged Andy Warhol broods in a turtleneck and black rimmed glasses next to gals in bikinis. Picasso holds a bushy pup by a smiling child, the photo hand-inscribed “his daughter with whom he’s very much in love.” These snapshots of renowned artists taken in the early ’20s through the mid ’70s were found tucked into diaries and documents at the Smithsonian Archives of American Art. The treasure of these images is not just in the intimate details — like Georgia O’Keeffe’s bathrobe and Jasper Jone’s contemplating slump — but also, in the vintage medium itself — the decaled edges, the whisk of sephia, the fuzzy sheen of a Polaroid flash — so dear in today’s age of instant digital photography. Peek into the private, unguarded moments of arty public people in our slideshow and catch “Little Pictures Big Lives” exhibit through October 3 at the Lawrence A. Fleischman Gallery at the Smithsonian.

Andy Warhol and friends on the beach, 1940s

Image Wars

2011-08-03T12:36:00.000-04:00

Just having moved to the Middle East this topic is poignant and keeps reappearing.

Image Wars

July 21-September 3, 2011

Image Wars addresses the representation of conflict in visual culture in an age of global crisis. This exhibition is curated by Miguel Amado and brings together works by Yevgeniy Fiks, Rinat Kotler, Michael Mandiberg, Carlos Noronha Feio, Mary Temple, and Kai-Oi Jay Yung. The artists in this exhibition mix archival documentation and fiction as well as research and personal reaction to daily events to comment on the articulation of geopolitics and the media in the "spectacularization" of warfare. The works on view examine the picturing of zones of conflict, from armed conflicts between countries trough dissent across national borders; the charismatic character of world leaders and unknown soldiers; and manifestations of both control and powerlessness in news and individual narratives.

The project’s organizing principle is that in an "image-saturated society, looking has become a spectacle and stipulates an optical-based relationship between those who look and that which is looked upon," as Guy Debord once said, and that the proliferation of a war-derived iconography has become the sign of such condition in present times. Mixing archival documentation and fiction, as well as research and personal reaction to daily events, the artists comment on the articulation of geopolitics and the media in the spectacularization of warfare. The works on view examine the picturing of zones of conflict, from armed conflicts between countries trough dissent across national borders; the charismatic character of world leaders and unknown soldiers; and manifestations of both control and powerlessness in news and individual narratives.

Angus Fairhurst

2011-08-03T12:29:00.000-04:00

Taken from an announcement on his retrospective at Westfälischer Kunstverein.

Angus Fairhurst’s work eludes straightforward categorisation, encompassing sculpture, painting, performance, photography, video, music, printmaking, drawing and collage. Over more than twenty years he engaged with specific formal and thematic motifs including blank spaces, gorillas, cycles and repetitions. His work touches on themes such as selfhood, desire, advertising and mass reproduction, his combination of conceptual strategies merging into an idiosyncratic and subtle formal vocabulary.

Miranda July: The Future

2011-08-01T14:07:00.000-04:00

Miranda July: The Future on Nowness.com.

Miranda July: The Future
The Artist and Filmmaker Presents An Exclusive Vignette Inspired By Her Magical New Film

Miranda July dreams up an idiosyncratic solution to the interruptions of modern life in "A Handy Tip for the Easily Distracted." An offcut from July's latest film, The Future, the scene has been reconstituted by the actress, writer and filmmaker for NOWNESS, complete with a score by David Byrne collaborator Steven Reker.

EFA Studio Residency for New York City Arts Workers.

2011-08-01T07:09:00.001-04:00

Wonderful idea for a residency that both acknowledges and supports artists that are also administrators nurturing the artist in people who nurture art.

EFA Project Space is proud to welcome 6 artists as the 2011 participants for our 2nd annual Studio Residency for New York City Arts Workers. Launched by EFA Project Space in August 2010, the Studio Residency for New York City Arts Workers is the only residency of its kind, providing an opportunity for accomplished art professionals (administrators, curators, directors), who are artists in their own right, the space and encouragement to focus on their studio practice.

The Residency transforms EFA Project Space into a collective workspace, providing six select residents space, peer support and structured time to devote to their work. All residents are selected based on nominations due to their outstanding contributions to the art community. The full cycle of the Studio Residency for New York City Arts Workers takes place over the period of a year, and includes regular follow up meetings and planned activities.

Linked: The Summer Group Show

2011-08-01T06:59:00.000-04:00

ArtSlant

The Summer Group Show
by Andrew Berardini

... The Summer Group Show (or SGS) is a phenomenon handed down to us from our New York forefathers (and mothers) that signifies the real money is out of town, nobody’s left around but broke artists, and that sometimes galleries still need to be filled with art because the dealers can’t just stop paying rent for the summer, even though, as forestated, the money’s out of town.... more here

Linked: 10 Incredibly Filthy Works of Art

2011-08-01T06:54:00.001-04:00

from Flavorpill
10 Incredibly Filthy Works of Art
1:58 pm Sunday Jul 24, 2011 by Emily Temple

As every artist knows, it’s good to get your hands dirty every once in a while. And there’s something undeniably wonderful about messy, filthy, dig-your-hands-in art, a departure from pristine lines and immaculate form. Recently, The Pace Gallery opened its summer season with “Through the Claw,” a performance piece by Kate Gilmore in which several women decimated a block of clay with their bare hands, getting understandably filthy in the process, and we were inspired to come up with some of our favorite messy artworks for your visceral viewing pleasure. After all, it’s summer. What better time to get a little dirty? Click through to see some of the messiest artworks we’ve ever seen, and let us know which of your favorites we’ve missed in the comments!

Kate Gilmore’s “Through the Claw,” 2011

more here.....

LINKED: Born to be Viral: Magnetic field sculptures

2011-04-11T14:39:00.000-04:00

Born to be Viral: Magnetic field sculptures

15:11 6 April 2011

MacGregor Campbell, consultant

No, it's not sentient goo. This week's Born to be Viral video shows moving sculptures made from magnetic ferrofluid.
Gary Lee Johns, a physics PhD student at Johns Hopkins University, combined commercially available magnetic-particle-infused fluid with a variety of different metal shapes. The result? The incredible fluid sculptures you see in this video.
The shape of the metal objects determines the shape of their magnetic fields, which in turn sculpts the fluid, roughly revealing the normally invisible magnetic fields.
In the video you can see fluid bunching up at points, corners, and edges. Johns says this is because magnetic fields tend to be strongest near sharp edges.
Aside from making cool sculptures, ferrofluids could be used as deformable mirrors for telescopes and other optical devices, or incorporated into clothing to make nanotech body armour.
This demo will appear at the Physics Fair at Johns Hopkins University in Baltimore, Maryland on 16 April.
If you enjoyed this story, you might also enjoy this video in which ants mimic liquids.

Augustus Nazzaro

2011-01-05T20:11:00.000-05:00

Untitled 2010

Untitled (Trotsky) 2008 graphite on paper 30 x 50 inches

Max Glaser

2011-01-05T20:06:00.001-05:00

Orange Acrylic Paint (detail) 2010 orange, acrylic paint, bulletproof glass, lumber 22 x 15 x 3.5

Georgian Scrotemic (detail) 2010 Plywood, stain, lacquer, glass, mirror, epoxy, latex paint dimensions variable(shown as 147" x 45" x 34") see recently during the "A Curious Thread" exhibition at Cuchifritos

Jason Yarmosky

2011-01-05T20:01:00.000-05:00

The Princess and the Queen

Elder Kinder series

George Spencer: The Boxing Series

2011-01-05T19:56:00.002-05:00

Dawn Frasch

2010-12-11T15:04:00.000-05:00

Frasch's work at the Hunter Open Studios

Upcycled

2010-12-11T12:58:00.000-05:00

Bernard Klevickas

"Upcycled" created from plastic post consumer waste

Curator: Barbara Lubliner

Educational Alliance - Ernest Rubenstein Gallery

197 East Broadway

New York, NY 10002

December 8th - January 20th, 2011

LINKED: E.T. Project (2009-2010) - Joe Yorty

2010-12-10T13:59:00.002-05:00

E.T. Project (2009-2010) - Joe Yorty

via Rhizome Inclusive: News, Blog, and Digest by Ceci Moss on 12/9/10

With the insertion of artist edition kitsch into the second-hand store industry I attempt an analysis of commodity flow and second-hand  bric-a-brac capitalism and simultaneously generate critique of art object value (the thrift store is momentarily converted into venue for the avant-garde and the  second-hand shopper inadvertently becomes collector of fine art).

120 ceramic E.T. figures were slipcast over a 10-month period from a single plaster mold purchased from a second-hand store in 2009. Once glazed and serialized The E.T.s were then circulated through donation to area thrift stores where they were priced, shelved and sold to the public.

-- FROM THE ARTIST'S STATEMENT

Studio Visit: Janos Stone

2010-12-08T15:06:00.000-05:00

Using drywall to create mathematical shapes Janos carves images of gamers sourced from the internet.

Below was slated to go into the hungarian Cultural center that was cancelled last min.

artnet article

LINKED: Lower East Side Tale, Refracted Nine Times

2010-12-04T14:40:00.000-05:00

Lower East Side Tale, Refracted Nine Times

Katie Orlinsky for The New York Times

“Lush Life” works at Invisible-Exports include, left, “The End of Abundance” by Karen Heagle; top right, “Soaring Hawk” by Gina Magid; and an untitled work by Xaviera Simmons.

By HOLLAND COTTER

Published: July 8, 2010

MultimediaHeaven knows the tired old New York art world could use a fresh story or two. This summer it gets one, secondhand, in “Lush Life,” a big and unusually ingenious group show spread over nine galleries, all but one on the Lower East Side.

Assembled by two independent curators, Omar Lopez-Chahoud and Franklin Evans, the show was inspired by the Richard Price novel “Lush Life,”the 2008 best seller that doubled as a Raymond Chandleresque police drama and a picaresque homage to the Lower East Side, a neighborhood that was long an immigrant enclave and is now, increasingly, a yuppie playground.

Mr. Price’s story takes place almost entirely within its bounds, which extend from, roughly, Houston Street south to Canal, and from the Bowery to the East River. The nine gallery shows — at Sue Scott Gallery, Y Gallery, Collette Blanchard Gallery, Lehmann Maupin, Salon 94 Freemans, Invisible-Exports, Scaramouche, Eleven Rivington and On Stellar Rays — correspond to the nine chapters of the novel, and work in each refers, sometimes specifically, to the book’s plot. read more....

Studio Visit: Alison Ward

2010-12-03T15:45:00.000-05:00

The Orchard, Into the Woods from Alison Ward on Vimeo.

Christy Powers

2010-12-03T15:42:00.000-05:00

Christy Powers

Giacobetti Paul Gallery

December 2, 2010 - January 2, 2011

Jennie Thwing

2010-12-03T15:38:00.000-05:00

1. Plastic Landscape 7 from Jennie Thwing on Vimeo.

LINKED: Art Inflation: Macy’s Murakamis

2010-12-01T12:51:00.001-05:00

Art Inflation: Macy’s Murakamis

Nicole Bengiveno/The New York Times

The Japanese artist Takashi Murakami watched as balloons of his Kaikai and Kiki characters were readied for the parade.

By DAVE ITZKOFF

Published: November 24, 2010

REPRINTS

It is not uncommon for people to react with awe to their first up-close encounter with a balloon from the Macy’s Thanksgiving Day Parade. But when Takashi Murakami saw his contributions to Thursday’s event, he bowed. Twice.

Times Topic: Takashi Murakami

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Courtesy of Takashi Murakami

Takashi Murakami in his Thanksgiving Day parade costume.

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Nicole Bengiveno/The New York Times

On Wednesday afternoon, on a stretch of West 81st Street in Manhattan where brightly colored, 30-foot-tall inflatable versions of his characters Kaikai and Kiki were wriggling and writhing underneath a huge net, Mr. Murakami, the Japanese pop artist, held a brief Shinto ceremony for purity and luck. He stood at a table where he poured out a glass of water and a glass of sake in front of two plates, one of white rice and one of sea salt. He gave two bows and clapped twice, then declared the ritual complete.

Kaikai, a childlike character in a rabbit costume, and Kiki, an impish figure with three eyes and two dangling fangs, were ready to greet the parade-watching public.

In an interview after the ceremony Mr. Murakami, his bushy hair tied in a knot, seemed exuberant. He said he was less concerned about whether Kaikai and Kiki — who do not promote any television cartoon shows or breakfast cereals, and are merely ambassadors of Mr. Murakami’s own playfully esoteric art — could hold their own in the Macy’s parade than about Thursday morning’s weather.

“I was thinking about sunshine,” Mr. Murakami said in his broken English. “Tomorrow the report is a little bit rainy. But I already talk with my feng shui master in Taiwan, and he already take care about that.”

For the organizers of the Macy’s parade the addition of Mr. Murakami and his characters to its lineup is the fulfillment of a longtime goal and several years of work.

Robin Hall, the executive producer of the parade, said in a telephone interview that Mr. Murakami was one of a handful of artists Macy’s sought out when it started its series of balloons designed by internationally recognized artists in 2005....

LINKED: Peter Wegner

2010-12-01T12:48:00.000-05:00

(title unknown)

via VVORK by mail on 11/28/10

»Buildings Made of Sky«, 2004 by Peter Wegner.

Studio Visit: Rose Nestler

2010-11-30T13:51:00.001-05:00

Nestler incorporates classical architecture and memory and twists them into something a little humorous and dark.

LINKED: New Meets Old at Eldridge

2010-11-19T13:17:00.001-05:00

via Eldridge Street

The Museum at Eldridge Street, which has commissioned artist Kiki Smith and architect Deborah Gans to create a new monumental east window for the 1887 Eldridge Street Synagogue...

During the 20-year restoration process, the East Window became a major question: How do we restore an element for which there are no original building plans and no photographs? After an extended decision-making process, we opted for a new commission which would return an inspiring interior and offer a respectful solution to the irreplaceable original.

Smith and Gans’ design, a galaxy of golden stars against an ever-changing blue firmament, recreates in stained-glass the blue and gold star pattern painted on the walls immediately surrounding the new window. According to their statement, “The new stained-glass window will use the features and motifs of the existing synagogue in a new way so that the mind and eye reflects back on the interior space as they are drawn into the space of the window. The wall pattern of five pointed gold stars against a blue sky will be extended across the window. The ribs of the window will radiate from a Star of David at the center. In pattern and shape, this window will be similar to the existing ceiling domes of the synagogue and also the trompe-l’oeil windows to either side of the arc. The current technology of flash glass makes it possible to etch the yellow stars into a blue field without any outline or leading so that they will appear as more intense sources of light within the glow of the window. The translation of the traditional motif of the synagogue with this material and structure will intensify the floating qualities of the synagogue space and surfaces.”..

read more here

Williamsburg and Bushwick Beta Spaces

2010-11-19T12:51:00.014-05:00

Eyelevel BQE Gallery

Carrie Mae Rose

Free Materials and Post Consumer Art

Surreal Estate

Kymia Nawabi

The Loom

Joy Curtis

Half Invisible

Jeremiah Jones

I Fall, I Flow I Melt

Kathleen Vance

Marni Kotak's Welcome to My House

Thomas Dexter

Future Archaeology: The Here and Now

LINKED: UNTITLED Pendant Lamps by Paola Pivi

2010-11-19T12:15:00.000-05:00

UNTITLED Pendant Lamps by Paola Pivi

via MoCoLoco by Yvan on 11/16/10

LINKED: Artissima - the House of Contamination

2010-11-13T14:29:00.000-05:00

Artissima - the House of Contamination

By Regine
on November 7, 2010 9:23 AM via we make money not art by Regine on 11/8/1

Another update from Artissima, the contemporary art fair taking place this weekend in Turin. There's vodka in the press bag, the art girls wear Melissa shoes, they still rock those pointy shoulder jackets, the men are strongly encouraged to make sartorial efforts, and photography seems to have fallen out of favour.

Meanwhile half of the public is either walking up and down the scaffoldings of raumlabor's life-size maquette of an experimental museum or relaxing with friends on the huge heap of smelly discarded clothes that the Berlin-based collective has 'erected' by the bar. When i saw the mountain of clothes from afar i actually thought it was a scaled-down version Christian Boltanski's Personnes at the Grand Palais in Paris.

raumlabor's construction -which you can find at the back of the exhibition space- was designed to host the fair's cultural offer, a program mixing dance performances, literature, film screenings and architecture. The idea is brilliant and the structure certainly attracts more passersby than the white rooms where the conferences usually take place.

The House of Contamination forms a parallel architecture in clashing contrast both with the sleek volumes of the Oval building where the fair is hosted and with the squeaky clean walls of the gallery booths.

The walls of this experimental museum are built with compressed stacks of plastic, paper, metal, fabric and wood. All the material is recycled. The books of the library are kept inside disused fridges, tables are installed on top of upside-down washing machines. A huge fan intermittently blows wind that moves the fabric walls of the corridor. Up there, a rudimentary skywalk allows visitors to get a better idea of the architecture of the museum.

As the description of the House of Contamination states, all rooms are intercommunicating, the only dividing wall can move merging cinema and theatre, simultaneously sealing the literary salon.

Let's see if this experimental museum gets a life beyond the 4 days art fair.

raumlabor, House of Contamination, 2010

Abitare has interviewed members of raumlabor about the House of Contamination.
More images of the House of Contamination.

Parsons MFA Open Studios

2010-11-13T14:24:00.000-05:00

Unfortunately, my phone died so I was unable to take crappy pictures of the work, a real bummer, knowing that most of the students I encounter don't have any of their work, let alone new work online.

Logan Sibrel

Jade Yumang

Tatiana Isotomina

TRASH tonight!

2010-11-12T13:13:00.000-05:00

Please stop by the show I curated the reception is tonight and will go through Jan 8.

TRASH


November 11, 2010 - January 8, 2011
Artists Reception: November 12, 2010 7-9pm
Adler A. F. “Trash Queen” performance November 12; 8pm

Adler A.F., Kim Holleman, Michael Kareken, Stephen Mallon, Al Wadzinski
Curated by: Zeina Assaf

NY Studio Gallery is pleased to present TRASH, a group show highlighting artists whose work is inspired by trash, garbage, refuse, waste and debris. Often considered aesthetically challenging if not abhorrently ugly, these products of human consumption are unavoidable elements of modern living.   These five artists alter our negative reaction to this phenomenon by interpreting waste afresh, creating beautiful or insightful images, objects, installations and performances and giving form to the old adage: “One man’s trash is another man’s treasure.”

Adler A.F, a German artist working in Tacheles arthouse in Berlin, is performing as the Trash Queen at NYSG. The work she creates from garbage maintains its own artistic value while developing a political-sociological conversation.

Kim Holleman meticulously renders three dimensional trash-scapes from an abundance of discarded materials. In her body of work, she addresses concepts of utopia, utilitarianism, environmentalism, and ideas about perfect form. Holleman examines how forms used in architecture connect to ideas about the natural environment, the sublime and the mundane, and our relationship to conceptual and physical space.

Recycling facilities are the fodder for Michael Kareken‘s large scale paintings. Giant piles of somewhat organized recyclables create their own patterns and cycles similar to those found in nature. The mechanics of these facilities sorting and moving their debris take on their own narrative in his work.

Stephen Mallon, an industrial photographer, documents the artificial landscapes and ecological footprints made by industrial plants. His photography is cropped to abstract the material and hence distort the viewer’s perception of the magnitude of the space.

Al Wadzinski creates zoomorphic assemblages using found objects of every material - valuable, mundane, cast-offs, delicate or impermeable, reclaimed from salvage yards, garage sales and alleys. A Native American, Wadzinski uses humor, intuition and metaphor to weave stories from disparate elements.

Chelsea Nov 4 2010

2010-11-06T18:09:00.000-04:00

FAILE

Bedtime Stories, 2010

Acrylic and silkscreen ink on wood in steel frame

84 1/2 x 60 1/2 x 2 3/4 inches

(214.6 x 153.7 x 7 cm)

FAILE

Fashions Last Stand, 2010

Acrylic and silkscreen ink on wood in aluminum frame

48 1/2 x 42 1/2 x 2 3/4 inches

Perry Rubinstein Gallery

527 West 23rd Street Gallery

FAILE Bedtime Stories

November 4 - December 23, 2010

Oliver Herring at Meulsteen Gallery. He's part of PBS ART: 21 episode showing his earlier work:

Watch the full episode. See more ART:21.

Tomas Saraceno

Cloud Cities Connectome

4 Nov 2010 - 18 Dec 2010

Tanya Bonakdar Gallery

Freight and Volume

Nov 4- Jan 4

KENT DORN REMAINS

Morell and Nojoumi

2010-11-04T13:26:00.000-04:00

Morell's process brings out the interplay between the extereior and interior and how the overlap of the two. It reminds me of looking out a window and being inside and what that feels like.

After seeing Nodjoumi's first solo show at Priska C. Juschka Fine Art, I was excitied to see his second but felt that the theme of show affected the tone of his work.

Abelardo Morell: The Universe Next Door

Bryce Wolkowitz Gallery

October 29, 2010—December 11, 2010

Using camera obscura, a centuries old optical principle in combination with digital camera work, Morell blacks out windows in rooms while leaving a small hole open, the aperture, which, in effect, transforms the space into a camera, thus overlaying the world outside inside.

Nicky Nodjoumi

Invitation to Change Your Metaphor

Priska C. Juschka Fine Art

October 28 - December 30, 2010

An exhibition of paintings and drawings through the looking glass ofNodjoumi’s critical response to the political events in Iran, impacting the international community in the summer and fall of 2009. Nodjoumi conveys his personal discontent, deliberately and universally, enabling his audience to engage in a profoundly layered discourse beyond a specific historical context or location.

2010-10-28T16:18:00.001-04:00

Justin Bieber Shaving from Greg Leuch on Vimeo.

http://www.youtube.com/michaelbellsmith#g/c/A883031CF9B3ABCF

No Fun - Eva and Franco Mattes from Eva and Franco Mattes aka 010010 on Vimeo.

SPEED SHOW vol.4: Super Niche
Wednesday, 27th Oct. 2010, 8-11 PM
90 Bowery Internet Cafe, NY 10013
( G-maps ) FB on.fb.me/cjevSi
Has (inter)net.art left its niche? Or is it clustered into zillions of tiny net niches splintered into numerous subtopics? The Super Niche could be a very big niche, a surf-club which is almost mainstream (?) or a sub cell of a extreme small niche of a 1-visitor ever page in deprecated HTML oblivion. Learning from evolution the beauty lies in the absurdity of super niche solutions, of visual workarounds in every day life net culture. It’s time to create more niches! It’s time to superfy!
Produced and curated by: Aram Bartholl
Participating Artists:
Erik Andersson, Cory Arcangel, Michael Bell-Smith, Charles Broskoski,
Jon Cates, Aleksandra Domanovic, Doubble Happiness, Constant Dullaart,
JODI, JK Keller, Greg Leuch, Olia Lialina & Dragan Espenschied, Duncan Malashock,
Eva & Franco Mattes aka 0100101110101101.ORG, Aaron Meyers, Mark Napier, Katja Novitskova, Jacob Ciocci & Jeff Crouse,
Jon Rafman, Ariel Rebel, Ryder Ripps, Evan Roth, Brad Troemel, Marius Watz

LINKED: Marketing Mondays: The Résumé

2010-10-28T13:13:00.000-04:00

Marketing Mondays: The Résumé

via Joanne Mattera Art Blog by noreply@blogger.com (Joanne Mattera) on 10/17/10

A great way to get started on a resume and tips if you already have one ....

LINKED: Brick Carpet

2010-10-28T13:10:00.000-04:00

Brick Carpet

via CRAFT by Becky Stern on 10/27/10

This Brick Carpet is by We Make Carpets in The Netherlands. [via inspire me now]

LINKED: Arm Chair

2010-10-28T12:42:00.005-04:00

Arm Chair

via CRAFT by Becky Stern on 10/27/10

Arm Chair, 2006, by Jamie Isenstein.

Wood, metal, nylon, raw cotton, linen, hardware, human arms, human legs, zippered jeans, Will Return sign

Dimensions variable

Camel Art Space & St. Cecilias Convent

2010-10-27T18:39:00.002-04:00

David Prince

Janos Stone

Camel Art Space

October 22- November 28, 2010

Sarah Malik

Vandana Jain

LOST SYMBOLS
Curated by Victoria Keddie and Jennifer Zazo
Convent of St. Cecilia,
thru Oct 30
Lost Symbols brings together the work of contemporary artists who investigate, dissect, appropriate, and translate mystic occult ritual, alchemy, mythology, and symbolism.

LINKED: Lora Zombie

2010-10-27T14:28:00.002-04:00

Lora Zombie

via NOTCOT on 10/22/10

Art inspiration ~ loving these pieces by young self-taught Russian artist Lora Zombie! Beautiful inky watercolors ~ my favorites are the animal related ones ~ see my picks on the next page! And check out her DeviantArt and prints at Eyes On Walls.

TO PAGE 2 of "Lora Zombie"! ----->

Yoshitomo Nara

2010-10-19T23:42:00.000-04:00

After going to the Armory to see Yoshitomo Nara getting ready for the Asia Society. We had fun with looking to the intimate rooms and pieces he built for the show.

Olek! Crocheted reality

2010-10-19T23:38:00.000-04:00

Olek's show at Christopher Henry

up until Oct 17

last month a little late

2010-10-19T23:37:00.000-04:00

RACHEL OWENS

Glass and skulls

Ziehersmith

Rashid Rana

Nicolas Robinson

compiled of smaller images

MAGNAN METZ GALLERY 521 W 26: Alejandro Almanza Pereda (9/10-10/23)

Gerald Davis

Salon 94

Jim Herbert

English Kills

Chelsea openings last thursday

2010-10-19T22:54:00.000-04:00

ZIEHERSMITH 516 W 20: Javier Pinon (10/14-11/13)

Meticulously done college is almost seamless and outshines alot I've seen in this arena.

JACK SHAINMAN GALLERY 513 W 20: Yoan Capote (10/14-11/13)

Though completely wowed by the hooks and thick paint that makes up this giant and dangerous seascape, we were a bit bored seeing the hooks again in the cityscapes. We giggled at the sexual/political works in the back and enjoyed the artists general ingenuity as a whole.

Lost Horizon

2010-10-19T15:03:00.003-04:00

LOST HORIZON

Artjail

50 Eldridge Street, 6th floor,

October 14 - November 13, 2010

Curated by David Gibson

Erik Benson, John Berens, Monika Bravo, Eduardo Cervantes, Sally Curcio, Jonathan Feldschuh, Laura Harrison, Madeleine Hatz, Jeff Konigsberg, Michelle Mackey, Dana Melamed, Dean Monogenis, Ross Racine, Asya Reznikov, Kristen Schiele, Kimberly Sexton, Philip Simmons, Mary Ann Strandell, Miryana Todorova, Michael Zansky, J.G. Zimmerman

LINKS: “Duke Fuck List” vs. Tracey Emin

2010-10-15T13:24:00.001-04:00

“Duke Fuck List” vs. Tracey Emin

via Hyperallergic by Kyle Chayka on 10/11/10

Tracey Emin, "Bed" (1999) (image from Saatchi Gallery)

When a female Duke student’s “fuck list” went viral, the entire online world was exposed to her in-depth list of male conquests, a PowerPoint presentation of sex that was less sexy than academic: men were rated in categories that ranged from “creativity” and “entertainment” to the more standard “size” and “physical attractiveness.”

Framed as “thesis research,” the document is so detailed that at times it actually reads more like research than fun. As a symptom of our always-online generation and the culture of omnipresent social media, the list is another example of oversharing, aptly summed up by Urbandictionary.com as “providing more personal information than is absolutely necessary. Typically done when two or more people are conversing and details of one’s sexual life creep into the discussion.” This immediately sounded familiar. A certain Young British Artist came to mind.

Back in the day (the day being the nineties) Tracey Emin was the absolute queen of oversharing, presaging all of our Livejournal, Facebook, and Twitter antics and putting as much of her life out there as she possibly could. Emin didn’t hold back the craziness either, just like your friend who drunkenly tweets from a particularly extreme night out or Emily Gould, pieces like “Everyone I Have Ever Slept With 1963 – 1995” (1995), a tent embroidered quite literally with everyone the artist has slept with from her parents as a child to friends and lovers later, exposed private life on an intimate level. The piece broadcasted personal tragedies and recoveries poetically through art. “My Bed” (1999) did much the same in a gut-wrenching display of inner life: Emin installed her bed, the same that she had been marooned in for days with a suicidal depression, in a gallery and let it all hang out, from dirty underwear and condoms to slippers and dirty clothes: ordinary life out loud.

Jump forward 10, 15 years. We live in a world of intimacy broadcast at large. We know our friends’ inner thoughts and experiences in real time, as they are thought and experienced. Facebook keeps us up on relationships, status updates portending personal tragedies. We know when someone is at the coffee shop, at home, stuck in bed, moaning about it online. The difference is that the availability of real time emotional intimacy makes pieces like “My Bed” seem conservative in their willingness to divulge. The “Duke Fuck List” girl begs Emin to rate everyone she ever slept with on a sliding scale, with bonus points, and email it out to friends. The life details become cold, clinical. Emin no longer reaches anywhere near the heights of oversharing.

The "Duke Fuck List" research methodology (from Jezebel.com) ....

Tine Kindermann

2010-10-09T16:03:00.000-04:00

Rated: Grimm

Tine Kindermann

September 30, 2010 through October 23, 2010

Dumbo under the Bridge Festival

2010-10-09T15:39:00.001-04:00

Reina Kubota and Hang Xu

Dumbo Arts Center

PIGEONHOLE

September 24 - November 14, 2010

Jill Marleah Bell

Charlotte Schultz

Smack Mellon

September 25 - November 7,2010

Giacobetti Paul Gallery

Abby Butcher, Daniel Clapp, Crystal Gregory, JiYe Kim, and Thierry Rouyer

2010-10-08T16:56:00.001-04:00

Marco Brambilla

Civilization (Megaplex), 2008

Single-channel video

Color, sound

03:00 min., loop

Collection Fundacion Sorigue, Lleida, Spain

Civilization is a multi-layered tableau of interconnecting images that illustrates a contemporary, satirical take on the concepts of eternal punishment and celestial reward. More than 300 individual channels of looped video are blended into an expansive landscape that continuously scrolls upward, from the depths of hell to the gates of heaven.

LINKED: Follow up on 2 Million &1AD - The fossilisation machine

2010-10-08T14:31:00.001-04:00

Follow up on 2 Million &1AD - The fossilisation machine

via we make money not art by Regine on 10/4/10

In the previous episode, Austin Houldsworth had installed a 'Fossilisation Machine' in the Tatton Park estates in England. He was hoping that his rudimentary machine could fast-forward the fossilisation process and petrify a pineapple and pheasant over the Summer only. Two weeks ago, the artist opened the prototype fossilisation machine and checked out the outcome of the experiment continue

LINKED: nina pohl

2010-10-08T14:30:00.002-04:00

nina pohl

via i heart photograph by Bill Sullivan on 10/3/10

nina pohl lives and works in berlin , more here

Convergence

2010-10-08T14:28:00.000-04:00

Convergence

Lumenhouse

October 16 - December 12, 2010

Opening: Saturday, October 16, 7 - 9 PM

LINKED: “Curator” R.I.P.

2010-10-08T14:26:00.003-04:00

“Curator” R.I.P.

via Artworld Salon by András Szántó on 9/30/10

“Behold our fall collection,” trumpets the mail order catalog of Restoration Hardware, the home interiors chain. “No longer mere ‘retailers’ of home furnishings, we are now ‘curators’ of the best historical design the world has to offer.” And so another of our words bites the dust. The word “curator” is becoming overused to the point of losing its meaning.

A curator once had to be assigned to specific collection—the word is rooted in the notion of caring for someone (etymology links curators to insane asylums). In recent years, however, “curation” has been de-linked from any fixed array of things. A curator is no longer a warden of precious objects but a kind of freelance aesthetic concierge. The task now simply involves a clever way of putting works together to follow a purported theme. Independent curators are hired by museums on installation hit-and-run missions. The independent curator has migrated into the realm of commercial galleries. And as the New York Times announced last week, private dealer Phillipe Ségalot is putting together an auction at Phillips “like a guest curator at a museum.”

It was perhaps inevitable that “curation” would jump over the artworld fence, to be embraced by commercial marketers eager to elevate ordinary goods into the realm of Olympian taste. Glossy magazines write breathlessly about beautifully curated retail emporia. One reads about well-curated lifestyles, cheese trays, and sock drawers. Our daily information diet comes to us from curators of the news. I’ve heard people say they curate their schedules and dinner parties.

Through adoption into the lexicon of commercial marketing and quotidian speech, “curator” and “curate” have entered the graveyard of words that have become terminally diluted in their meaning even while—or precisely because—they are issuing from more and more lips. A case of linguistic atrophy and opportunism? Or an apt reflection of the messy but exciting amalgamation of everything in today’s culture?

LINKED: VVORK

2010-10-08T14:26:00.000-04:00

»Psyche Revived by Love’s Kiss« by Antonio Canova.

LINKED: What's 'At the End of a Rainbow'? Xiaoqing Ding is Here to Tell You

2010-10-08T14:23:00.003-04:00

What's 'At the End of a Rainbow'? Xiaoqing Ding is Here to Tell You

via Juxtapoz Magazine by Katie on 10/6/10

At the End of a Rainbow is the latest series of works by Chinese-American Brooklyn-based artist Xiaoqing Ding, in what will be her debut solo exhibition in New York. Here, we see the artist once again challenging herself in experimenting with new mediums.

2010-10-08T14:23:00.000-04:00

Cinders Gallery

An Unearthly Child

Allyson Mellberg

September 10th – October 10th 2010

Mac Adams

2010-09-28T15:17:00.000-04:00

Mac Adams

Lindsay Packer

2010-09-28T15:14:00.000-04:00

Lindsay Packer

LINKED: Largest Tag in New York

2010-09-28T14:59:00.000-04:00

via Best Roof Talk Ever

Read on...

art boars: an art and culture source

Kim Keever

Jennifer and Kevin McCoy

Guy Laramée

Elpida Hadzi-Vasileva

Mike Nelson

Around the Corner, Inadvertent Galleries

By ROBERTA SMITH

Published: August 24, 2011

Laurel Nakadate

Jennifer & Kevin McCoy

Sara Greenberger Rafferty

Klaus Weber

Luis Camnitzer

KAWS

Mounir Fatmi

Time/Food

Roadside Kitsch Is Fun, but Is It Art? Virginia Museum Sure Hopes So

Ailing Facility Eyes Sculptor of Oddities; Bigfoot and the Exploding Outhouse

By ROB JOHNSON

IDEA STORE

Diana Al-Hadid

irvin morazan

VALIE EXPORT

Do Ho Suh

Valerie Hegarty

Michel de Broin

Lisa Yuskavage

Allison Schulnik

You Want to Track Me? Here You Go, F.B.I.

Is It Art, Science or a Test of People?

By RANDY KENNEDY

via NY TIMES Published: October 25, 2011

Wafaa Bilal

Cornelia Jensen

Ant Farm Nablus – Tom Bogaert 2011

We would provide complete darkness

Beyond the Physical Universe As You Understand It (Still)

DANE PATTERSON

Leigh Bowery

Lucia

Broken Homes

Atelier Van Lieshout

Tajwal

Artifacts | Maurizio Cattelan Gives His ‘All’

Artifacts | Maurizio Cattelan Gives His ‘All’

TOILET PAPER ROLL WORK SERIES

"I do not expect to be a mother but I do expect to die alone"

Pretty? Pretty? A Divine Art Show

PICTURES ARE WORDS-NOT-KNOWN

Selections for Culturehall, from an exhibit at theLishui Museum of Photography, China, 2011Curated by Sean Justice

Library Science

Linked: Intimate Vintage Snapshots of Famous Artists

Image Wars

Angus Fairhurst

Miranda July: The Future

EFA Studio Residency for New York City Arts Workers.

Linked: The Summer Group Show

Linked: 10 Incredibly Filthy Works of Art

LINKED: Born to be Viral: Magnetic field sculptures

Augustus Nazzaro

Max Glaser

Jason Yarmosky

George Spencer: The Boxing Series

Dawn Frasch

Upcycled

LINKED: E.T. Project (2009-2010) - Joe Yorty

Studio Visit: Janos Stone

LINKED: Lower East Side Tale, Refracted Nine Times

Lower East Side Tale, Refracted Nine Times

By HOLLAND COTTER

Published: July 8, 2010

Studio Visit: Alison Ward

Christy Powers

Jennie Thwing

LINKED: Art Inflation: Macy’s Murakamis

Art Inflation: Macy’s Murakamis

By DAVE ITZKOFF

Published: November 24, 2010

Related

Selections for Culturehall, from an exhibit at the
Lishui Museum of Photography, China, 2011
Curated by Sean Justice