- Eating at the Elbows, Our Teeth Will be More Quiet, Jonathan Hartshorn at Galerie Bertrand @ Gruner. New York based artist infamously known for his participation in a recent show inside of MoMA's 5th floor bathroom, is presenting work that explores the existential spatiality situated between the there, then, now, how and where. Delightful. More Info: www.bertrand-gruner.com. Geneva, Switzerland, January 15th - February 14th, 2009.
- OUTLINE, curated by Christopher Smith at Serrano Contemporary. An exhibition of drawings which will appeal to those with a tactile yearning for visceral stimulus from the technical flair of emerging artists. Info: Serrano Contemporary. New York, NY, USA, January 15th - February 14th, 2009.
- New Paintings by Peter Doig at Gavin Brown Enterprise. Peter Doig's first solo exhibition of new paintings in almost 10 years. More info: Gavin Brown Enterprise. New York, NY, USA January 15th - February 21st, 2009.
- KITTY, Andres Laracuente, Matthew Lutz-Kinoy, and John Patrick Walsh 3 at Jane Kim/Thrust Projects. A collaboration of sculpture, photography, and works on paper by interdisciplinary artists who explore the notion of the art object as explicitly dynamic through witnessed practice. More info: www.thrustprojects.com. New York, NY, USA January 16th - February 22nd, 2009.
Wednesday, January 14, 2009
Monday, January 12, 2009
The online contemporary art website myartspace.com recently launched a juried competition with jurors from the Tate Modern (Vanessa DesClaux), The Hayward Gallery (Tom Morton), and the Barbican Gallery (Francesco Manacorda). The top 3 winners will have their work represented this summer at the Scream Gallery, the week of June 22.
The online social networking space for contemporary art has heated up recently with various new entrants such as artlog.com, saatchi-gallery.co.uk, to name a few, but a clear leader amongst the pool of art websites has yet to emerge as a relevant online destination with features distinctly better than their competitors.
Thursday, January 08, 2009
- Nancy Spero at Galerie Lelong, Un Coup de Dent, New York, NY, Jan - Feb 21, 2009
- Janet Biggs at Claire Oliver, Vanishing Point, New York, NY, Jan 8 - Feb 7, 2009
- Araki at Anton Kern Gallery, 1960s Photographs, New York, NY, Jan 8 - Feb 7, 2009
Wednesday, January 07, 2009
Walk Throughs by Siegel, Kessler, Davis, Butler O'Neil, Ammirati and Pissaro - Hunter MFA Thesis Exhibition
Hunter College Art History professors Katy Siegel and Joachim Pissaro will each moderate gallery walk-throughs of the Hunter College Fall MFA Thesis Exhibition. Each walk-through will discuss work in the thesis show and will be followed by a small reception.
January 10th, 3pm:
Prof. Katy Siegel (artforum contributor), artist Jon Kessler, Ben Davis (Artnet)
January 17th, 3pm:
Prof. Joachim Pissaro (curator), Lauren Butler-O'neil (Artforum.com) , critic Domenick Ammirati
Hunter College Fall MFA Thesis Exhibition
Times Square Gallery
450 41st St. (Between 9th and 10th Ave.)
December 17, 2008 - January 17, 2009
www.huntermfathesis.org (see a preview of the artists in the thesis show)
Tuesday, January 06, 2009
Monday, January 05, 2009
written by Ashley Eldridge-Ford in London
To what extent Sam Taylor-Woods photographic series, Ghosts, inspired by Emilly Bronte's novel Wuthering Heights, is based upon the turbulent love stories in said novel that are representative of her own marriage's dissipation remains to be seen. The ground-floor show in Covent Garden contained photographs by renown photographer and video artist taken on the Yorkshire moors. The photographic scenes are meant to be expressive of the novel's brutal take on the themes of desire, thwarted love and suffering. These are chilly, wintry landscapes reminiscent of Dutch 17th century landscape painting - the tilt of long grasses and leafless trees bowing to a strong incessant winds; the silvery gold shimmer of sunshine breaking through the moody clouds to caress the grasses and unmoving cold stone. This reference to the work of the Old Masters is not unusual for her (A Little Death, 2002; Still Life, 2001). Minus two or so, these photographs contain nothing that professes to be anything more than hastily taken snapshots that are chosen for their superiority over the remaining shots. This is not what makes a trip to the gallery worthwhile.
What does justify a visit to Covent Garden however is downstairs. Here, Taylor-Wood presents Sigh, a large-scale multi-screen video installation made in collaboration with the BBC Concert Orchestra. The musicians and the singular composer are divided by the function of their instruments - strings, wind, percussion - per screen. Flautists prepare their instruments for play at the indication of the conductor, and they come in on cue - heads beating time - lips pursed, cheeks controlling the expulsion of air, brows furrowed, intense concentration on their faces. Violinists' arms hold steady their violins and move their bows rhythmically across the strings, their feet tapping time. Drums are beaten. Trumpets blown. But - and here is the beauty of the piece - there are no instruments in this orchestra. The musical score was commissioned from composer Anne Dudley and it soars and moves sweetly from one screen to the next - from one ensemble of musicians to the next. The setting is an empty run-down studio and the musicians are dressed in casual attire. The composer, at the front of the room, solitary, controls the musicians performing a private tai-chi-esque sequence of movements. The power of the piece is not only in the music but also in the performance of the musicians who have been stripped of definition without their instruments. Their concentration and intensity in creating this performance - of perfomance itself as art - is stirring.
Sigh, 2008, copyright Sam Taylor-Wood, courtesy Jay Jopling/White Cube