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Spring 2007 Fashion Week: dragana ognjenovic 02

Posted by Pete Duhon on September 11, 2006

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Photograph by Peter Duhon.

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Art Comments Interview with James Fuentes

written and edited by Jeff Grunthaner and Peter Duhon in New York If the sense of beauty has anythin g to offer us , then we have to bracket the kind of moralism that reduces pleasure to utility, considering instead the utopian potentials delineated by works of art as intimations of new societal relations . It’s both par adoxical and frustrating that m ost galleries are shell s. Your typical art-intoxicated night out resembles nothing less than ghostling swarm s of embryos darting in and out of galleries, as though to incarnate themselves by inhabiting some momentary carapace , be com ing a kind of hybrid species physically bra nded by the sites they’ve visited . Economics play a heavy hand in this. Whatever aspirations artists and curators come to NY with, they inevitab...

Brad Mehldau Trio: Live at the Village Vanguard Part I

Amazing, creatively brilliant, just a few words that describe pianist Brad Mehldau's approach to music as a soloist or with his jazz trio. This approach was clearly evident tonight at the Village Vanguard, as Brad produced music of mystic qualities with his trio which consists of Jeff Ballard on drums and Larry Grenediar on upright bass. Olympian status is definitely a goal of any musican(s), last night's performance proved that Brad and his trio are not only on a high Olympian level but that they deserve a gold medal. But who said that it is a contest? Well, let's talk directly about the show and not talk around it. The acoustic trio started with a rendition of Paul Simon's "50 ways to Leave Your Lover," which the bassist Larry Grenediar played a solo mid-tempo intro. After Larry played solo for about a couple of minutes, Jeff Ballard, the drummer joined along with the groove. Thereafter Brad followed and joined in as well. The trio on this song displayed a l...

The Forever Now: Contemporary Painting in an Atemporal World, MoMA

A review of “The Forever Now: Contemporary Painting in an Atemporal World,” exhibiting at MoMa, December 14, 2014–April 5, 2015 written by Jeffrey Grunthaner in New York Comprising only 17 painters—ranging from the youth sensation Oscar Murillo to veterans like Mary Weatherford—MoMA’s The Forever Now aspires to be a hip survey of what’s possible for painting today. In fact, it’s only trendy. If one were to take the exhibition at its word, the internet has radically transformed our lives and the way we reproduce images. Starting from this truism, is it possible that MoMA wants to show us painters without any sense of a historical past? Inveighing for an eternal present where the variegated richness of time perishes into an a-temporal “synchrony,” collapsing the difference between “high” and “low”—none of this is original circa 2015, and doesn’t explain why the bulk of the art in the exhibition alludes to 20 th century art and iconography. Oscar Murillo. 7+. 2013–14 ...

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