National Life Insurance Company Building, project, 1924–25, by Frank Lloyd Wright. Part of the exhibitFrank Lloyd Wright and the City: Density vs. Dispersal, at the Museum of Modern Art in New York, opening Saturday. (Image courtesy of MoMA and The Frank Lloyd Wright Foundation Archives.)
NYC: Carrie Mae Weems, The Museum Series, at the Studio Museum in Harlem. Opens Thursday, in Harlem.
A photograph by Julio González Sánchez. Part of the group showBolivia Existe, at Momenta Art in New York, in collaboration with Kiosko Galería from Santa Cruz, Bolivia. Opens Friday at 7pm, in Bushwick. (Image courtesy of the artist and Momenta.)
High Heels Crowd Surf, by Tod Seelie. (Image courtesy of the artist.)
In the mail today came a book I am super ecstatic about: Tod Seelie’s Bright Nights, which gathers all of his New York photographs into one handy tome. Even as the city becomes a monochromatic carpet of condos and faux retro watering holes, Bright Nights is a reminder that even at its most Bloombergian New York has always retained pockets of creative chaos (and hopefully always will). This book is a tribute to those pockets — and all the bloody noses that come with it.
What’s more, I got to write an essay for this baby, which I’m pretty dang proud of. (Thank you, Jeff Stark, for the mad editing skills.) I’ve been an admirer of Tod’s work for years, from the time his images first started to pop up on Flickr years ago. I’ve long been enthralled by what they covered: under-the-radar events like Bike Kill, Japanther concerts, vogue-ing competitions and journeys made by Swoon on her flotilla of hand-made rafts. But it’s his framing and his sense of color that makes his work rise above simple documentation.
It was a thrill to be able to contribute a few words to the spaces between the pictures. So go out and get the book! And while you’re at it, check out Tod’s website, his Instagram, and his Twitter.
Deodorized Central Mass with Satellites, 1991/1999, by Mike Kelley. Part of the exhibitMike Kelley, at MoMA PS1. Opens Sunday, in Long Island City. (Courtesy of Perry Rubenstein Gallery. Photograph by Joshua White/ JWPictures.com.)
NYC: Between the Door and the Street, a performance initiated by Suzanne Lacy, at Park Place and the Brooklyn Museum. Opens Thursday, in Brooklyn. The performance will take place on the afternoon of Saturday, October 19.
NYC: Vernacular Criticism, a talk by Brian Droitcour, at the New Museum. This Saturday at 3pm, on the Lower East Side.
9th Street Exhibition, 1951 by Robert Motherwell. Part of the exhibitRobert Motherwell: Early Collages, at the Guggenheim Museum. Opens today. (Mildred Lane Kemper Art Museum. Courtesy of the Dedalus Foundation.)
Mexico City: David Choe, Snowman Monkey BBQ, at the Museo Universitario del Chopo. Through October 27.
Copenhagen:Independents, a group show, at V1 Gallery. Through September 7.
Plus: It’s the last week for I, YOU, WE at the Whitney Museum. Christian Viveros-Fauné provides numerous reasons for why you shouldn’t miss this show.
Plus, plus:Christopher Knight on why Detroit’s art shouldn’t so hastily be sold off. (I’m embarrassingly behind on this story. But if you haven’t followed it and you’re gonna read only one piece about it, make sure this is it.)