"The first major museum exhibition to focus on themes of gender and sexuality in modern American portraiture, HIDE/SEEK: Difference and Desire in American Portraiture brings together more than one hundred works in a wide range of media, including paintings, photographs, works on paper, film, and installation art. The exhibition charts the underdocumented role that sexual identity has played in the making of modern art, and highlights the contributions of gay and lesbian artists to American art. Beginning in the late nineteenth century with Thomas Eakins’ Realist paintings, HIDE/SEEK traces the often coded narrative of sexual desire in art produced throughout the early modern period and up to the present. The exhibition features pieces by canonical figures in American art—including George Bellows, Marsden Hartley, Alice Neel, and Berenice Abbott—along with works that openly assert gay and lesbian subjects in modern and contemporary art, by artists such as Jess Collins and Tee Corinne.”
"Founded in 1982, Storefront for Art and Architecture is a nonprofit organization committed to the advancement of innovative positions in architecture, art and design. Our program of exhibitions, artists talks, film screenings, conferences and publications is intended to generate dialogue and collaboration across geographic, ideological and disciplinary boundaries. As a public forum for emerging voices, Storefront explores vital issues in art and architecture with the intent of increasing awareness of and interest in contemporary design."
From the website ““Carsten Höller: Experience” is the most comprehensive US exhibition to date of the artist’s engaging work. The current show gathers together a number of the artist’s signature works in an arrangement that transforms the viewer’s experience of time and space. Originally trained as a scientist, Höller is frequently inspired by research and experiments from scientific history and deploys these studies in works that alter the audience’s physical and psychological sensations, inspiring doubt and uncertainty about the world around them. His work often draws on social spaces outside of the museum such as the amusement park, zoo, or playground, but the experiences they provide are always far from our usual expectations of these activities. Höller’s art takes the form of proposals for radical, new ways of living by creating sculptures and diagrams for visionary architecture as well as transportation alternatives, such as his renowned slide installations. These concepts may seem impossible in the present day, but suggest new models for the future.” More here.
"TWO years ago, Ellen Stewart, the founder and longtime impresario of La MaMa Experimental Theater Club in the East Village, was speaking to her entire staff at a nearby restaurant when she dropped a bombshell. “Mia,” she said, “will be the new me.”
That would be Mia Yoo, who, while it was widely understood was being groomed as a successor, had no idea this announcement was coming. She was so stunned that she promptly ran out the door. “ ‘Oh my God,’ I said, ‘it’s my kid’s bedtime!’ “ she recalled, laughing during a recent interview in the Ellen Stewart Theater, the largest of the three spaces at La MaMa.
The flamboyant Ms. Stewart, who died in January at 91, may have been known as the mama, giving the 50-year old downtown institution its name and identity, but Ms. Yoo, 40, and now its artistic director, is more likely to refer to herself as a mother.
“I am not the mama,” she said. “Now the institution is.”
Replacing a founder, whether it’s a Joseph Papp or a Steve Jobs, is never easy, but taking over at La MaMa poses peculiar challenges as well as opportunities. At a time when many major adventurous theater companies have either lost their space (St. Ann’s Warehouse) or are temporarily homeless (Performance Space 122), Ms. Yoo has a very precious asset: downtown real estate.”
"Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power."
Neuberger Museum of Art Purchase College State University of New York 735 Anderson Hill Road Purchase, NY 10577-1400
SEPTEMBER 25-DECEMBER 18, 2011
Dana Schutz combines fantasy and reality, humor and horror, to create figurative paintings that abound with expressionist energy.
One of the most important young artists to emerge in the past ten years, she developed a distinctive visual style characterized by vibrant color and raw and tactile brushwork.
The first ten-year survey of the work of Dana Schutz, organized by the Neuberger Museum of Art, will feature approximately thirty paintings and twelve drawings created by the artist from 2001 to the present and will include work from each of her endlessly inventive series.
“‘De Kooning: A Retrospective,” at the Museum of Modern Art, is the most piercing, inexhaustible, and relentlessly intense full-on career survey I have ever seen in this country. It could only be better by being bigger. Packing the museum’s entire sixth floor with nearly 200 paintings, prints, sculptures, and drawings (these last the equals of Ingres, Seurat, and Picasso), this retrospective should permanently set the art-historical record straight on this artist.”—New York Magazine (read the rest here).
"The Museum of Modern Art has never known quite what to do with Willem de Kooning. You can package Jackson Pollock as drips and Barnett Newman as zips, but de Kooning, who painted both opulent abstractions and big, blowsy dames, resists easy branding. So, apart from a show of late work in 1997, the museum has neglected him, until now." — New York Times
"This is the first major museum exhibition devoted to the full scope of the career of Willem de Kooning, widely considered to be among the most important and prolific artists of the 20th century. The exhibition, which will only be seen at MoMA, presents an unparalleled opportunity to study the artist’s development over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. Bringing together nearly 200 works from public and private collections, the exhibition will occupy the Museum’s entire sixth-floor gallery space, totaling approximately 17,000 square feet.
Representing nearly every type of work de Kooning made, in both technique and subject matter, this retrospective includes paintings, sculptures, drawings, and prints. Among these are the artist’s most famous, landmark paintings—among them Pink Angels (1945), Excavation (1950), and the celebrated third Woman series (1950–53)—plus in-depth presentations of all his most important series, ranging from his figurative paintings of the early 1940s to the breakthrough black-and-white compositions of 1948–49, and from the urban abstractions of the mid 1950s to the artist’s return to figuration in the 1960s, and the large gestural abstractions of the following decade. Also included is de Kooning’s famous yet largely unseen theatrical backdrop, the 17-foot-square Labyrinth (1946).”
"In 2005, the writer and art critic Michael Francis Gibson saw Lech Majewski’s Angelus in a cinema in Paris. Fascinated by the director’s painterly vision, he gave him a copy of his book The Mill and the Cross, an analysis of Pieter Bruegel’s painting The Way to Calvary. Majewski, whose creative journey began with painting and poetry, admired the depth of Gibson’s insight into Bruegel’s picture, so he took up the challenge of creating a visual equivalent of the Flemish master’s work.
Pieter Bruegel’s epic masterpiece The Way To Calvary depicts the story of Christ’s Passion set in Flanders under brutal Spanish occupation in the year 1564, the very year Bruegel created his painting. From among the more than five hundred figures that fill Bruegel’s remarkable canvas, THE MILL & THE CROSS focuses on a dozen characters whose life stories unfold and intertwine in a panoramic landscape populated by villagers and red-caped horsemen. Among them are Bruegel himself (played by Rutger Hauer), his friend and art collector Nicholas Jonghelinck (Michael York), and the Virgin Mary (Charlotte Rampling).
It took Majewski three years to complete the film. It was work that required patience and imagination as well as the use of new CG technology and 3D effects; three years spent weaving an enormous digital tapestry composed of layer upon layer of perspective, atmospheric phenomena and people.”
The sculptor’s death at age 34 in 1970 turned every scrap from her hand, including these nineteen macabre selfportraits—brought together in a museum exhibition for the very first time—into an object of fascination.