September 16, 2013
Jean Tinguely © 2013 Artist Rights Society (ARS), New York/ ADAGP, Paris
In 1960 Yves Klein debuted his 40-minute Monotone-Silence Symphony, a single-toned work conceived 13 years earlier on a beach in Nice. That same year Robert Rauschenberg helped Jean Tinguely set his friend’s famously massive (and short-lived) sculpture, Homage to New York, into motion in the gardens at MoMA.
This week two New York galleries will show the relics of these momentary, sonorous works of art—“happenings,” as they were called at the time.
Klein’s symphony inspires “Audible Presence: Lucio Fontana, Yves Klein, Cy Twombly” (September 18 to November 16), the inaugural exhibit at the new Dominique Lévy gallery (909 Madison Ave.; dominique-levy.com). It deals in the luminous, monochromatic and audio works of its three featured artists, including a Fontana “portrait” of the Venetian sky, an abstraction of a Roman sunset by Twombly and the first New York performance (currently sold out) of Monotone-Silence Symphony (September 18, 8 P.M.; Madison Avenue Presbyterian Church, 921 Madison Ave.; eventbrite.com).
Following his Homage to New York moment with Tinguely, Rauschenberg eventually added a rare preliminary sketch by the French artist of the “self-constructing and self-deconstructing” machine to his personal collection. It—along with several other pieces from Rauschenberg’s private compendium and archives—is now on view in “Radio Waves: New York ‘Nouveau Réalisme’ and Rauschenberg” (September 17 to November 2) at Sperone Westwater (257 Bowery; speronewestwater.com).
The two shows seem to demonstrate opposite instincts. Uptown, Klein’s resuscitated symphony upends time with 20 unbroken minutes of unchanging tone (and another 20 of silence) that harkens back 53 years. Downtown, time’s perpetual rush forward gets the attention. Even though Tinguely’s Radio No. 1 (1960) could still be turned on to transform quick-flipping radio signals into unpredictable white noise, that won’t happen here. But Rauschenberg’s Dry Cell (1963) still responds to environmental sound, a metal bobbin spinning in a Plexiglass box, still noting a changing present 50 years later.
Two More to See: “Aldo Tambellini: We Are the Primitives of a New Era, Paintings and Projections 1961–1989” (September 12 to October 19) at James Cohan Gallery (533 W. 26th St.; jamescohan.com) delves into the Italian artist’s performance and experiential installations. And “Rauschenberg and Photography” (through November 2) at Pace/MacGill Gallery (32 E. 57th St.; pacemacgill.com) considers the artist’s relationship with the medium.
September 12, 2013
Supporting emerging artistic talent is nothing new, but for online art-buying platform @60”, bolstering the promise of on-the-rise talent will always be a priority.
“It was important for us to be able to build a community of artists that are affordable yet on the verge of mainstream gallery representation,” says co-founder Kipton Cronkite. “We build their careers and our collectors are able to take advantage of our insider knowledge before these artists are widely recognized.”
The site, which debuted late last year, is no slouch, having won a pair of 2013 Webby Awards for (naturally) Best Art and Best Home/Welcome Page. Paintings, photographs and sculptures—from $100 to $50,000—fill the inventory; roughly 50 talents, like painter Tony Ingrisano and photo portraitist Wenjun Liang, make up the roster.
Cronkite and his team try to make the process as easy and engaging as possible. A new Virtual Art Advisory service, which launched earlier this week, helps collectors glean expert advice: Complete a thorough questionnaire and a consultant will recommend specific pieces based on the findings. A try-before-you-buy feature allows you to test-run true-to-size watermarked replicas on your walls. And the Living with Art section features various influencers illustrating how they integrate art into their lives. (Profiles include design entrepreneur Stuart Parr and interior designer Thom Filicia.)
The site’s curatorial board of gallery owners, art professors and advisors vets the artists, and the staff is always on the lookout for a new find, scouting the country and tapping the expertise of curators, museum insiders and collectors along the way. After all, you never know what the next big thing might be.
“Rising stars bring a unique, modern voice that pushes the constraints on traditional definitions of art,” says Cronkite. “We’re very proud of the talent that we have secured.” 212-486-2608; at60inches.com.
September 05, 2013
Richie Culver, Jason And The Astronauts, 2013
Artist Richie Culver is perhaps best known for combining words with painting and collage to form provocative, often emotionally charged pieces. But for “The Four Letter Word”—his first solo exhibit in three years, which opens September 5 at Skur 2 gallery in Stavanger, Norway—the British artist is delving into newer territory: photographic works developed through experimental techniques. Self-taught, Culver hit it big in 2011 when the Tate Modern displayed his work in a group show. This most recent journey to Norway (he exhibited in Stavanger two years ago and recently worked there) is a homecoming of sorts. We asked him about the new show.
Q: What do you love about Norway?
A: What struck me initially was how nice the people were—I've gone on to make some great friends in Stavanger. Also, the surrounding areas are really beautiful, and I love the small towns and the fjords.
Q: How do the pieces in the exhibit differ from what you normally do?
A: The works are a big departure from my past ones. I’m using a totally new technique. Before I was making more documentary/reportage photography of people and objects with an emphasis on my own living environment. Now I have started to really use photography as a medium to express my ideas and thoughts, which is more akin to how I approach my paint or drawing work. Also, the photography in the show is all manipulated. I am exploring lighting and exposure, a little like how one would explore working with photogram photography.
Q: What part of your world do you enjoy the most right now?
A: I really enjoy living in Berlin. I love it there. I had been in London for quite a while, and a change is just what I needed. I do enjoy collaborating, but I’m just enjoying working at the moment. I’m in a really good space, and I am creating works I’m really happy with.
Through September 29; Skansekaien 4006; 47/9710-1074; skur2.no.
July 04, 2013
Two of the world’s most provocative designers are contributing their talents to a major celebration in Monte Carlo. Marking the 150th anniversary of the legendary Casino de Monte-Carlo—one of the principality’s most recognized landmarks—the exhibit “Dangerous Luxury” (July 6–20) will present a world preview of works by Brazilian designers and brothers Fernando and Humberto Campana.
Known for using recycled and unusual materials to create pieces with personality and irresistible texture—a chair made of stuffed animals; the well-known Favela chair made of pieces of recycled wood—the Campana brothers display a quirky, technical creativity. Shown at the casino’s Sporting d’Hiver, the exhibit originated in Paris at the Musée des Arts Décoratifs and was extended especially for Monte Carlo, complete with new works.
The furnishings meld natural fibers from central Brazil with Art Deco–inspired European influences. Jewelry (called “forbidden jewels”) will be on view, blending bronze, gold and gems as well as pop items (toothbrushes, alligators) and more traditional motifs. And guests will also be able to view a series of sketches on loan from the artists, which will help to illuminate the siblings’ creative process even more.
"The name 'Dangerous Luxury' is ironic," says Humberto. "What is luxury today? It is mixing gold and diamonds with a very natural straw, a very banal material, to create another object. I think this is the key message of the exhibition. People need to have eyes to see hidden things, so we try to point out situations that are hidden and highlight them." July 6–20; Place du Casino, Sporting d’Hiver; montecarlosbm.com.
June 24, 2013
Photo courtesy of Perrier
Pop artist Andy Warhol’s iconic work is among the most sought after—and expensive—in the world. And much of this work (including Warhol’s legendary screen prints of Campbell’s Soup cans) incorporated branded products, thus transforming everyday items into art. Continuing this history, the Warhol Foundation has joined forces with Perrier in honor of the sparkling water’s 150th anniversary this year.
The project resurrects Warhol’s 1983 Perrier series—which captured the iconic green-glass bottles in Day-Glo polymer paint and silkscreen ink on canvas—via four limited-edition bottle designs, each including a signature Warhol quote. Fans can even enter to win an original Warhol screen print as part of Perrier’s Take Home a Warhol sweepstakes (through September 30). After all, as Warhol once famously observed, “Pop art is for everyone.” perrier.com.
June 06, 2013
Courtesy of Costa Navarino
In a bid to brand the Mediterranean resort destination Costa Navarino as an up-and-coming place for artists and art enthusiasts, local developers are launching a new contemporary art platform called Costa Navarino: Engaging Art. The project kicks off on June 8 with an exhibit curated by conceptual artist Dimitrios Antonitsis.
The permanent exhibition space will reside in the Westin Resort, which is one of the area’s two luxury hotels. Artists in residence, whose work will be on display for about a month each, will be on hand in the evenings to explain their creations to guests and prepare new artwork on-site—a dynamic, creative process in which visitors are encouraged to participate. The debut exhibition, “60 Picks Per Minute” (through October 6), features four well-known artists whose work blends contemporary art with traditional handicraft. For the artists, exhibiting pieces in a hotel is a novel move. “I like the challenge of curating exhibits outside the white box of gallery aesthetics,” says Antonitsis. “Activating creative experiences for leisure-class travelers is the next frontier.”
Engaging Art has a solid foundation to build upon; Peloponnesian heirlooms, contemporary Greek art and original works from the 17th, 18th and 19th centuries are on display throughout Costa Navarino’s hotels, restaurants, golf clubs and spas. The ultimate aim, though, is to create a meeting place for artists and collectors on the unspoiled section of the southern Peloponnese coast—an idea as idyllic as they come. Navarino Dunes, Messinia; 30-272/309-5000; costanavarino.com.
May 22, 2013
Photo courtesy of Princeton Architectural Press
A far cry from the white cube–style galleries that are so popular today, outdoor sculpture parks represent a hybrid of art and nature. As Italian architect Francesca Cigola writes in the introduction of her new book, Art Parks: A Tour of America’s Sculpture Parks and Gardens (Princeton Architectural Press, June 2013), “Works of art in these spaces interact with surrounding landscapes, playing off their character, colors, and makeup; in many cases the boundaries between the works and their settings are blurred.”
The book explores three types of outdoor art parks in the United States: leisure, learning and collectors’ spaces. Leisure spaces, like Griffis Sculpture Park in East Otto, New York, are the smallest and most intimate variety, usually located outside of cities and featuring a harmony between art and nature. At Griffis visitors are encouraged to interact with the art, even if that means touching, walking through or climbing on the sculptures.
Learning spaces, housed in museums or universities, tend to have an educational and aesthetic purpose. MoMA PS1, in Long Island City, New York, holds an annual competition called the Young Architects Program, with the selected work exhibited in the museum garden during spring and summer events.
Collectors’ spaces are private collections. The General Mills Sculpture Garden, at the company’s headquarters in Minneapolis, Minnesota, is essentially an extension of the local heavyweight’s sizeable art collection. Standout works include the towering steel Man with Briefcase (1987) (pictured above), which takes a playful jab at corporate culture, and Stone Court (1988), which features a wall that is dug into the side of a hill, making for a place where employees frequently go to relax.
Whichever park you choose to visit—the country has more than 50 to choose from; there are countless others abroad—Art Parks is the perfect companion on your journey. papress.com.
May 09, 2013
"Human Nature"/ Photo by James Ewing, Courtesy Public Art Fund, NY
From the opening of the New Museum in 2007 to November 2010, the art installation “Hell, Yes!” (2001) affirmed the burgeoning Bowery scene with a lit-up rainbow arc bolted to the museum’s facade. Some were sad to see it go, some called it blasphemous and some called it the curatorial equivalent of “wearing a baseball cap over a wedding veil.” But the artist behind the piece—Swiss-born, New York–based Ugo Rondinone—made a name for himself.
Under the auspices of the Public Art Fund, the sign-maker and sculptor’s most recent body of work was unveiled last week on the plaza at Rockefeller Center. “Human Nature,” a convocation of nine stone figures (each between 16 and 20 feet tall), will stand on their poured-concrete platform through June 7, silently and deliberately provoking 30 Rock’s gilded angels. They simultaneously recall Stonehenge and a comic-book invasion of armless bluestone giants.
Whether they will be embraced or derided remains to be seen, but their rough-cut, primal scale is sure to elicit something. (“It’s Ugohenge. Isn’t that what everyone’s calling them?” said painter Elizabeth Peyton, quoted in The New York Times.) But there is a peace to them, perhaps born of their elemental nature; they are too basic for us to move them, so they move us.
Rondinone’s New York moment will continue through the summer with a similar exhibit called “soul,” opening May 10 at Gladstone Gallery (530 W. 21st St.; gladstonegallery.com), and a video piece at MoMA’s PS 1 (22–25 Jackson Ave., Long Island City; momaps1.org). His work will also appear in Chicago (five large rocks at the Art Institute), Dallas (public installations courtesy of Nasher Sculpture Center) and Zurich (stone giants in miniature at Gallerie Eva Presenhuber). Hell, yes. “Human Nature” will be on view at Rockefeller Center through June 7.
May 07, 2013
Tim Hetherington, Untitled, 1999-2003. Gelatin Silver Print © Tim Hetherington, Courtesy Yossi Milo Gallery, New York
A war correspondent, photographer, filmmaker and humanitarian, Tim Hetherington was a singular and beloved figure in journalism. April 20th marked the second anniversary of his untimely death in Libya, where he was covering the tumult of the Arab Spring. In commemoration of Hetherington’s life and career, the Yossi Milo Gallery in New York has staged an exhibit of his work, “Inner Light: Portraits of the Blind, Sierra Leone 1999–2003.”
The black-and-white photographs, hauntingly poignant, depict students at the Milton Margai School for the Blind in Freetown, Sierra Leone. Hetherington spent five years developing the portraits, which are inspired by the many visits he made to the school. As with all of Hetherington’s work—from his photography for Vanity Fair to his Oscar-winning documentary Restrepo—this series offers a humanistic perspective on conflict, suffering and the effects of war on the individual.
The exhibit coincides with the premiere of the HBO documentary Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington, as well as an installation of Hetherington’s “Sleeping Soldiers” series, on display through May 13 at the Pavilion at the International Center of Photography (1133 Avenue of the Americas; icp.org). Through May 18; Yossi Milo Gallery, 245 Tenth Ave.; 212-414-0370; yossimilo.com.
April 25, 2013
TOMS Haiti Artist Collective, Pierre's Sketch Night Men's Classics, $68.00, available exclusively at TOMS.com. Photo courtesy of TOMS
TOMS—the philanthropic shoe company that promises to donate a new pair of shoes to a child in need for each pair purchased—is at it again. The brand’s latest initiative is the Haiti Artist Collective, a line of colorful, one-of-a-kind shoes ($68 a pair) hand-painted by Haitian artists between the ages of 18 and 45 and inspired by traditional Haitian art. The two-part collection launched its first line in March (a second line of styles is scheduled for July), and was created in conjunction with Caribbean Craft, a Port-au-Prince–based organization that supports local artisans. The initiative is intended to drive economic growth on the island of Haiti, which has had one of the world’s highest unemployment rates since 2010, when an earthquake devastated the area. Founder Blake Mycoskie says the crux of the project is the “potential of creating sustainable jobs and highlighting creative talent.” Sounds like a very worthy goal.
For more on the artists behind TOMS new line, click here. Limited-edition collection available at the TOMS Los Angeles flagship, 1344 Abbot Kinney Blvd.; 310-314-9700; toms.com.