Where High Gets Low.
I popped into the opening of F*ck Art, the street arty show at the Museum of Sex in Manhattan last Wednesday. The opening came complete with chocolate penis pops, hot trannie nurse handing out Jell-O shots, almost nekkid people and plenty of sex. Seen above: An installation by Aiko’s. (Photos by C-M.)
Miss Van.
El Celso.
Continue reading ‘Photo Diary: F*ck Art (and more) at the Museum of Sex, in NYC.’
A relief of the Gemini capsule carved by artist Kevin Sudeith in northern California. The artist has recently been working around New York. My story on his petroglyphs is now up at WNYC. (Image courtesy of Sudeith.)
AIDS Wallpaper, 1989, by General Idea. Part of the exhibit This Will Have Been: Art, Love and Politics in the 1980s, at the Museum of Contemporary Art Chicago. Opens Saturday. (Image courtesy of AA Bronson.)
Banana man, Lima. (Photo by El Celso.)
You’ve got 10 more days to catch Soldier/Many Wars, Suzanne Opton’s poignant photographs of active duty soldiers, at Platform Gallery in Seattle. Through Saturday, February 11. (Image courtesy of the artist and Platform.)
Ayre and Yok in Manhattan. (Photo by Luna Park.)
On Public Housing
A view of the Marcy Houses. (Photo by NYC-Metrocard.)
Michael Kimmelman has an interesting piece about large-scale housing developments in the New York Times. He takes a look at the fate of the infamous Pruitt-Igoe projects in St. Louis and draws a comparison to the Penn South buildings in New York’s Chelsea, which have been largely successful as a housing development. He discusses how economic and other urban development factors can affect the success or failure of architectural design. All around an interesting piece. But while I dig Kimmelman’s focus on publicly-minded design (a breath of fresh air after Ourossoff’s era of mega-projects), it seems like a bit of an oversight to pen a very long story about these types of constructions and not even mention places like the Marcy Houses in Bed-Stuy or Red Hook Houses in Red Hook — two places with a history that is infinitely less rosy than that of Penn South.
Linkage
A detail from Rome, ca. 1970, by the Rev. Samuel David Phillips.
An abstraction made from reclaimed lath board by Kinetic Tornado (in benefit of the Konbit Shelter Project).
Jaguar, by Oranit Solomonov.
I know these are porcelain and that they’re hand-painted and that there’s four million of them (more on that here), but this install bears an uncanny resemblance to Felix Gonzalez-Torres’s silver-candy piece, Untitled (Placebo), from 1991 — which is currently on view at MoMA. And which can be touched and eaten.
In the Box-Horizontal, 1962, by Ruth Bernhard. Part of the exhibit In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States, at the Los Angeles County Museum of Art, opening this Sunday. (Image courtesy of the Ruth Bernard Archive, Princeton University Art Museum.)
