Archive for the 'Art' Category

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The Figure in Contemporary Art: Brooklyn Museum.


Fred Wilson, Grey Area (Brown Version), 1993. (Photographs taken by Ben Valentine at the Brooklyn Museum last December.)

Recently, while browsing an art history book, I began thinking about how much the portrayal of the human figure has evolved since the Paleolithic era (think Venus of Willendorf), through the Renaissance (Michelangelo’s David), to today — when contemporary artists seem to portray humans conceptually and aesthetically in radically different manners. This has inspired me to begin collecting contemporary representations of the human form. I thought I’d begin the series at the Brooklyn Museum, which features a wide range of artists and aesthetics (all walking distance from my apartment). Hopefully this photo series will begin to give us an idea of the many facets of identity today. It could help us see how far we have come, or simply show how psychotic we all happen to be…

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Photo Diary: A tour of installation art at the IMA, in Indianpolis.


Ball-Nogues Studio, Gravity’s Loom, 2010 — currently on display in the entry hallway. (All photographs are courtesy of the IMA, unless otherwise noted.)

From the fall of 2009 to the summer of 2010 I volunteered at the Indianopolis Museum of Art (IMA) under Associate Conservator of Objects & Variable Art, Richard McCoy. While there I documented and filed examination reports on works by artists such as Maya Lin, El Anatsui, and Robert Smithson. I also helped with the installation and maintenance of the Tara Donovan (my current boss) exhibition.

Over the holidays I paid a visit to the contemporary galleries; which during my time at the IMA I’d become very familiar with, so it was nice to return with fresh eyes. Here are some of my favorite installations, both old and new:


Robert Irwin’s, Light and Space III, 2008.  (Image from Thoth188.)

In 2008, Robert Irwin made an installation for IMA’s Pulliam Great Hall, which is at center of the IMA’s galleries. The space at the time was dimly lit, adorned with outdated wood décor — lacking any kind of impact for the focal point of the IMA experience. True to Irwin’s style, Light and Space III evolved directly from the requirements of it’s location; in a sense he grew the piece from the space. One of the most amazing experiences I had while interning at the IMA was when this installation was turned off; while walking through the contemporary galleries, I kept feeling as though something was missing; it was the presence of this piece, which is turned off whenever the museum closes. (Learn a little about this piece and Irwin’s process by watching a video of the artist in conversation with my old boss.)

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A year-in-review (sort of).

Spied on our cross-country sojourn: A pick-up truck, outside of Austin, Texas.

It’s been a weird year. I drove back roads across the U.S. Threw a fish across state lines. Stared at an artist in a museum atrium. Taught art yoga. Spent the summer watching a “reality show” about art. Rowed around Randall’s Island in a handmade boat. And joined a religious procession in the Andes. I’ve covered most of these activities here on the blog (or over at WNYC). But a few things have eluded me — either because I just haven’t had time to get them down in pixels, or because I hadn’t quite sorted out my thoughts.

So, in lieu of a year-end listicle (I produce enough lists throughout the year), a little bit of stream-of-consciousness ruminating instead:

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Art: Birds Do It.


Pimpin’: The artful design of this bowerbird nest is intended to attract a mate. (Image courtesy of National Geographic.)

Over the weekend, I was working my way through my tower of unread magazines and stumbled into the most remarkable story in the July 2010 issue of National Geographic about bowerbirds. The birds are endemic to Australia and New Guinea and are known for their spectacular nests. The male of the species build these — adding all manner of decorative elements, from leaves to rocks to flowers — in the hopes of attracting a mate. Once the lady arrives, they mate. After their business is done, she takes off and he prepares the nest for the next bird in question. Interestingly, the nests aren’t actually used to live in or nurture young — they are intended merely as showpieces for courtship, making them the avian world’s version of a pleasure palace. (Like the stuff you see on Unhappy Hipsters.)

What’s most interesting to me are the aesthetics of the nest. The male birds dedicate their lives to create  pleasing arrangements that might attract the female of the species, laying out Andy Goldsworthy-esque constructions of acorns, flowers and even detritus. (The latter look very Whitney Biennial.) One species, the satin bowerbird, even creates his own type of paint out of plant matter, which he then uses to shade (and flavor) the inside of his nest.

As Virginia Morell writes in the story:

Given all these talents, some researchers have attributed an aesthetic sense and the glimmerings of culture to bowerbirds, traits rarely suggested as found in any species aside from our own. (Some primates, such as chimpanzees and orangutans, are now regarded as having cultural traditions, but not aesthetics.)

Which means if you were feeling all superior because we as a species make art, you might want to reconsider your position. Like many artists working today, these little birds are making incredible works for the basest of reasons: they simply want to get laid.

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(The link to the National Geographic article has been quite glitchy. If you can’t pull up the story, find a summary and a short photo essay at NPR. But if you have the time, try to locate this issue at a library — because the photography and the story are both amazing.)

The Digest. 08.25.10.


Artwork Ahead. Snapped in Sydney, Australia, by the highly attentive Chris Baron.

Photo Diary: The Basel Frazzle.

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Theoretically: TEOR/eTica, a new contemporary arts space in San Jose, Costa Rica.


A detail from Colmena, 2005, an installation by Baltazar Torres. (Photos by C-M.)

For a lot of folks, Costa Rica is synonymous with zip lines and monkeys and lots of eco-marketing. But the capital of San Jose has a lively cultural scene as well. Today I stumbled right smack into a wonderful new arts space and museum called TEOR/eTica — which showcases works from the collection of the TEOR/eTica foundation, an organization dedicated to promoting Central and Latin American artists. Their permanent collection is small, consisting of only a few hundred works. But what I saw of it was compelling. I got lost in Baltazar Torres’s installation, Colmena, shown above (and after the jump). Though that may be because I enjoyed looking at myself in all the little mirrors…

Afterward, I also got lost in a gigantor hunk of super-fresh cheesecake with stewed strawberries at the awesome new bistro/cafe Kalu, located right across the street. A work of art, indeed.

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Needed: Art to Burn.


Matches. (Photo by Bob.Fornal.)

Because we here at C-Mon are, like, total pyros, we are joining forces with the inimitable El Celso at this year’s Art Basel in Miami to stage the first annual ART BURN 2009. In a public happening that will undoubtedly be equal parts Wicker Man, Texas A&M and Richard Pryor on fire, we’re gonna be burning fine art. Your art, to be exact.

We are now accepting submissions of combustible works on wood or paper. Pieces must be of sentimental and/or monetary value to the artist. (We want to burn your art, not your mistakes.) All pieces will be briefly displayed prior to being immolated. Nothing will be sold. No fees are required to apply. (This is a low-rent operation, however, so we’re gonna ask that you ship your works to us.) The burning, naturally, will be filmed, photographed and social media’d to the max – assuring the death of your work plenty of virtual attention as the art industry gathers for its annual Miami Beach Swap Meet. Details on location and timing will be announced as they are confirmed.

To submit works for consideration, e-mail images and/or links to celso [at] elcelso [dot] com.

See you in Miami!

Inflatable rats.


Runs With Scissors.


AudreyH.


Photo by David Reeves.

From Paris: Sebastian Puig checks out Kandinsky and Calder at the Pompidou.


Now what the heck does it say up there? (Surreptitious photos by Sebastian Puig all taken with special Get Smart® shoe phone.)

Q: What’s better than SUPERTITLES at the opera?
A: REALLY BIG WALL TEXT REALLY HIGH UP at an art museum!

We loved seeing the exhaustive (and exhausting) Kandinsky retrospective at the Beaubourg, a.k.a. Centre Georges Pompidou: the bold splotches of color, the whimsical shapes, all that kinetic motion from the peripatetic 20th-century master whose career took him from the Blue Rider through the Bauhaus. The only thing that left us puzzled was the wall text, which was writ LARGE and placed WAAAY up the wall. I suppose it’s so that even if visitors are stacked five-deep and can’t see the art, they can at least read the name of the painting over the tousled heads of fellow art-gawkers. Maybe some U.S. museums will catch on to this user-friendly trick. The Guggenheim will get its opportunity in September, when the show travels to New York.

Calder at the Pompidou is up through July 20; Kandinsky, through Aug. 10.

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