In 1917, Marcel Duchamp referred to the Baroness von Elsa Freytag-Loringhoven, a street performer and artist known for parading around Greenwich Village wearing nothing but feathers and vermillion to cover her bald head, as "the future." Today, her legacy lives on in her wild, kooky biography, which continue to inspire groups like ANIMALS, an award-winning performance collective.
After a whirlwind year that included a critically lauded solo exhibition, "Magical Terrorism," at Ramiken Crucible—Roberta Smith, The New York Times chief critic, called it "a bit of institutional critique worthy of Michael Asher"—Andra Ursuta needed some breathing space. So after her solo presentation art Art Basel Miami Beach, she drove the long way home.
It's easy to read echoes of the apocalypse in Nate Lowman's current exhibition at the Brant Foundation Art Study Center, "I wanted to be an artist but all I got was this lousy career" [through March 2013]. Works include recent paintings, collage, and sculpture, as well as Four Seasons (2009-2012), a room-sized installation that transforms each season into a verb (wintering, springing, summering, and falling).
On a quiet strip between Chinatown and Tribeca, just across the street from the New York County Family Court, is Home Alone Gallery, a new project space curated by artists Leo Fitzpatrick, Hanna Liden and Nate Lowman. Located in a storefront window at 52 Franklin, outside which hangs a "Space For Rent" sign, it's not your traditional storefront gallery
It's not often that you walk into an art exhibition and feel like you've ended up in a music video (or rather, not often enough).
In his art, Berlin-based Jeremy Shaw recreates altered states, so it's very logical that the Absolut Art Bureau, an organization that is responsible for the liquor brand's art initiatives, would hire him to design a bar at Art Basel this year. Called Kirlian, after a photographic process that makes a photogram out of electricity, thereby exposing the magnetic field, or "aura" around an object, the bar promises to be a place where you can be lifted out of the frenzy of the art fair and have a transcendental experience.
"There isn't really anybody who occupies the lens to the extent that Lindsay Lohan does," says Richard Phillips, who cast the actress in his latest short film, First Point (2012), which will premiere at Art Unlimited, part of Art Basel 2012. "Something happens when she steps in front of the camera. There is this magnetic energy."
For the month of June, Barneys will devote its windows to the exhibition of site-specific installations by five artists from different disciplines: art design partnership M/M, photographer Juergen Teller, designer-turned-artist Helmut Lang, poet Patrizia Cavalli, and filmmaker Athina Rachel Tsangari. Organized by Dakis Joannou, founder of the DESTE Foundation of Contemporary Art, in collaboration with Barneys Creative Director Dennis Freedman, the destefashioncollection sums up a project started by Joannou in 2007.
Agathe Snow conceived of the ten sculptures in "I like it here. Don't you?," currently on view at New York's Maccarone gallery, while lying on the floor with her baby, waiting for him to go to sleep. "I saw works that would center around themselves, and stretch from both the ceiling and the ground," she told Interview.
The agnès b. store in Soho might not seem the ideal space to stage a solo exhibition of works by photographer Malick Sidibé, given the distraction of, well, the racks of clothing. But given the subject of the work, which focuses on street and nightlife culture in Bamako, the capital of Mali, during the 1960s and '70s, the photographs seem right at home in a sartorial setting.
In an age of Twilight and True Blood, the devil is something we know, and very often, want to sleep with. In his solo exhibition at Lehmann Maupin, "Occult Contemporary"—a name that riffs off the softcore musical genre "Adult Contemporary"—artist Hernan Bas attempts to rescue the devil from the candy-coated world of Hollywood blockbusters, and imbue him with his uncanny ability to terrify ordinary humans.
New York is crawling with art fairs this week, bringing collectors, dealers, artists, and lovers of spectacle alike out of their lairs. Monumental in scope, the Armory Week's fairs are scattered from the Upper East Side to the Lower East Side to the Piers on the Hudson River, and everywhere in between.
Film, music, theater, and performance are center-stage at this year's Whitney Biennial. Comprising work by 51 artists—sculptors, painters, critics, curators, playwrights, filmmakers, dancers, choreographers, musicians, photographers, performance artists, and everything in between
In her piece, Dead-End, Infinite (2011) at "III," a group exhibition at Martos Gallery, sculptor Rochelle Goldberg takes on the daunting task of criticizing the apotheosis of materials in iconic 20th-century works such as Brancusi's Endless Column, which rises seamlessly from the ground without a trace of a struggle against gravity.
Jon Kessler's current exhibition at Salon 94, "The Blue Period," was inspired by the artist's trips on the subway in New York. "I realized that half of the people riding were operating some kind of handheld device," Kessler told Interview. "They were physically there, but not actually there."
For "Being With You," his solo exhibition at Lehmann Maupin, Sandro Kopp has taken the idea of the mediated portrait into the digital era. Consisting of a series of real-time portraits that Kopp did of subjects that sat for him not in the flesh, but rather via Skype, the exhibition marries the practice of 19th century oil painting with modern communication.