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Josh Faught at Kendall Koppe
Artist: Josh Faught Venue: Kendall Koppe, Glasgow Exhibition Title: I know I came into this room for a reason Date: September 6 – October 30, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of the artist and Kendall Koppe, Glasgow. Photos by Max Slaven.  […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Annette Kelm at Gio Marconi
Artist: Annette Kelm Venue: Gio Marconi, Milan Exhibition Title: In the Realm Of Date: September 19 – November 1, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of the artist and Gio Marconi, Milan Press Release: Giò Marconi is very pleased to announce In […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

The Met’s Morbid Fascination With Mourning Fashion
Descending into the Metropolitan Museum’s Anna Wintour Costume Center these days feels a bit like entering some particularly glamorous catacombs. Greeted by the echo of vaguely funereal music (Gabriel Fauré’s “Requiem Op. 48,” to be precise), visitors pass a mural of a grey-leafed weeping willow on their way down into the dimly lit hall, where they face the series of dramatic Victorian-era dresses that make up the centerpiece of “Death Becomes Her: A Century of Mourning Attire.” The Costume Institute’s first fall exhibition in seven years, “Death Becomes Her” explores the fashionable side of mortality with approximately 30 ensembles from 1815 to 1915, including a dress worn by Queen Alexandra in mourning of Queen Victoria. As expected given the subject matter, the color palette of the show is overwhelmingly black — in crapes and velvets, sleek veils and puffed gigot sleeves — with a few welcome splashes of grey and purple to honor the later tradition of “half-mourning” attire. To round out the gloomy aesthetic, topical quotes are projected on all four walls in ghostly white (e.g., “She seemed to see people and life through the confusing blur of the long crape veil in which it was a widow’s duty to shroud her affliction”; or “The eyes that survive the bitterness of tears succumb to the poisonous rasping of crape”). Meanwhile, the adjacent gallery hosts a collection of death-centric prints and photographs, as well as other vintage bereavement accessories like hats and parasols. As museum shows go, fashion exhibitions have high potential to rack up pop culture cachet — and especially, in this case, some interest from the despondent, black-lipstick-sporting set. It’s clear that this demographic is at least somewhat on the museum’s radar: In addition to the usual exhibition catalogue and postcards, this show’s makeshift gift shop offers a selection of goth-friendly tchotchkes, from chunky black jewelry to a special edition of Edgar Allan Poe’s “The Raven.” (A personal favorite: the “Mystifying Mints,” with tops designed to look like Ouija boards.) Still, it’s not all vague morbidity and black lace here. As with other exhibitions of its ilk, “Death Becomes Her” does well to foreground fashion’s inherent sociopolitical significance — in this case, the uncertain role of independent women in the 19th century. Indeed, this is where the title’s double entendre takes effect — because really, in so exceedingly patriarchal an age, what was to become of a widow? According to Charles Dana Gibson’s 1900 satirical illustration series for Life magazine, she’s a not-so-subtly sexual figure, at once outcast and sought after by her former social circles — in one panel, the young widow gets “indignation and sympathy over a scurrilous attitude” from a frumpy-looking “Mrs. Babbles,” while in another, she sits disinterested, surrounded by rapt suit-clad men. As the exhibition demonstrates, flashy mourning attire was as much a way to publicly prove devotion to one’s late spouse as it was to announce oneself as newly single: “Don’t you see,” says an anonymous young woman in one of the wall-projected excerpts, “[wearing sable] saves me the expense of advertising for a husband.” It’s no wonder, then, that mourning dresses were pushed heavily in the fashion magazines that cropped up during this era, and that so weighty an emotional burden would be dressed in cascading frills, albeit somber-toned ones. Of course, lest it all seem a bit callous, it’s worth thinking of the ornate ensembles as a form of distraction in coping with death — which, as the exhibition’s opening wall text reminds us, occurred at a far higher rate in the 1800s, especially among children. Behind the panels of tulle and chiffon lurks the specter of genuine grief; each dress seems to represent the transfiguration of something brutal, baffling, and unavoidable into something delicate and ordered. Perhaps nowhere is this so poignant as in the few pieces of jewelry fitted with intricately-laid locks of the deceased’s hair — at once touching and macabre, even perversely romantic. Poe, at least, would certainly approve. “Death Becomes Her: A Century of Mourning Attire” is on view at the Metropolitan Museum through February 1, 2015. The Met’s Morbid Fascination With Mourning FashionSelect Photo Gallery: Slideshow: "Death Becomes Her" at the Metropolitan Museum of ArtPublished: October 24, 2014 Read full article here

Sean Kelly Hosts "Generator" and "The Lightness of Weight" with Marina Abramović and Jose Dávila - October 23, 2014
Language English Featured: 0Order: 0Slideshow location: Slideshow ICONAuthor(s): Benjamin ParkSub-Channels: PartiesReferenced Artists: Marina AbramovicJose DavilaShort Title : Sean Kelly Hosts Marina Abramović and Jose Dávila Read full article here

The Open Road Aperture Foundation Benefit Party Honoring Robert Frank - October 21, 2014
Language English Featured: 0Order: 0Author(s): Benjamin ParkSub-Channels: PartiesShort Title : The Open Road Aperture Foundation Benefit Party Read full article here

Talking Restaurant Design at Pratt
Talking Restaurant Design at PrattLeading restaurant designer Adam Tihany opened last night’s Pratt Institute panel on the affinities between interiors, design, and food with some reminiscences: “Andy Warhol couldn’t get into my first restaurant and that’s how I became famous. Like everything in New York, it happened because of someone else’s misery.” After the audience issued a collective giggle, fellow panelists, devoted Tihany clients, and renowned chefs Daniel Boulud (he of Café Boulud, Boulud Sud, and Daniel fame) and Lydia Shire (the cook and restaurateur behind Scampo Boston, Seasons, and Maison Robert) assured attendees that, in fact, Tihany’s success has even more to do with his talent for creating atmospheres and ambiance that reflect the passions and menus of his clients. “The three pillars of a successful restaurant are food, service, and design,” said Tihany, as the panelists and moderator Michael Boodro of Elle Décor waded through the intricacies of designing and operating a fine dining establishment. “The food should drive the style of the restaurant,” added Shire. The rest of the conversation had more to do with details like the drape of tablecloths, the modulation of lighting, and the choice of materials for furniture. What might seem like minutia is actually essential to the success of a restaurant, noted Tihany: “Restaurants are about control — of people in space, of their experience. It’s not about reality, it’s about the perception of reality.” To that point, he stressed that being a restaurateur and a restaurant designer comes down to understanding human psychology. The question-and-answer session that followed the discussion produced some of the evening’s most curious commentaries on the crossbreeding of the food and design industries. When asked about the New Americana trend in New York dining, nobody seemed impressed. Boulud pointed out that it’s annoying to try to read a menu in fine-print cursive under low light and against the background of a dark, wooden table. Tihany, with his signature irony, went so far as to predict the trend’s downfall: “They’re going to run out of Edison bulbs sooner or later,” he quipped. Shire, for her part, did not so much decry urban gardens as speak to their irrelevance — with so much high-quality produce grown in the Northeast, it makes no sense to attach a garden to one’s restaurant (nor does the New York real estate market allow for the necessary space, everyone agreed). The observations were especially interesting, given that the panel was held on the border of Brooklyn’s Clinton Hill and Fort Greene neighborhoods, where New Americana is practically indigenous cuisine. It became obvious as the evening wore on that Tihany, Boulud, and Shire frequent not only their own restaurants, but also the most talked-about dining establishments in New York City — both as devoted foodies and as devotees of restaurant design. Thus, when ARTINFO saw Tihany and Shire leaving the reception that followed with a group of friends, we were eager to know where they planned to get dinner. They slipped away before we got an answer, but we’ll venture to say that there were probably no rustic details in sight. Published: October 24, 2014 Read full article here

Slideshow: Hugh Scott-Douglas at Jessica Silverman Gallery
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title :  Hugh Scott-Douglas at Jessica Silverman Gallery Read full article here

Week in Review: From the Turner Prize to "Mortal Kombat," Our Top Stories
Week in Review: From the Turner Prize to "Mortal Kombat," Our Top Stories— Martin Gayford found that the 2014 Turner Prize exhibition caused him “temporary loss of the will to live.” — Anneliese Cooper tried to refrain from making too many feline puns at the news that Rhonda Lieberman’s “Cats in Residence” will return, with shows in Hartford and Los Angeles. — Scott Indrisek rounded up six must-see gallery shows in Brussels for those eager art fans commuting between Frieze and FIAC. — Artist Tania Brugera spoke with Ashton Cooper about “The Francis Project,” in which she encouraged undocumented immigrants to write to the Pope. — Regina Mogilevskaya wrote up a guide to this year’s CMJ, from lady rock to bummer dance. — Ariana Reines and Jim Fletcher went head-to-head in a late-night round of “Mortal Kombat” at the Whitney. — Craig Hubert examined the masculine ideal presented in Swedish director Ruben Östlund's “Force Majeure.”  — Scott Indrisek visited sculptor David Altmejd in his studio. — In the Air brought you daily dispatches from the Montréal Biennial and will continue with updates from New Orleans’ Prospect 3. — Patrick Pacheco noted the relevant political tensions in Ayad Akhtar’s Pulitzer Prize-winning play “Disgrace.” — Astria Suparak and Ceci Moss, co-curators of “Alien She,” explained their Riot Grrrl ethos.  Published: October 24, 2014 Read full article here

Silke Otto-Knapp at Galerie der Stadt Schwaz
Artist: Silke Otto-Knapp Venue: Galerie der Stadt Schwaz Exhibition Title: Seascapes and Moondresses Date: September 11 – October 26, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Videos: Silke Otto-Knapp. Allay Alight (three), 2014. Documentation of performance at Camden Art Center, London, January 24th 2014, 24:00. Choreography: […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

From Swords to Semioticians: MoMA’s “To Save and Project”
From Swords to Semioticians: MoMA’s “To Save and Project”For film aficionados of all stripes, one of the highlights of each fall season in New York City is undoubtedly the Museum of Modern Art’s “To Save and Project,” its annual festival of film preservation, running October 24 through November 22. Now entering its 12th year, the event’s slate of films programmed by curators Joshua Siegel and Dave Kehr this go-around constitute the widest ranging and most varied selection of moving-image work you’re likely to see at any time, all in one place. The festival opens with a restoration of Allan Dwan’s “The Iron Mask,” a late-period silent film — and Dwan’s last — made in 1929, starring Douglas Fairbanks, a sequel to the successful “The Three Musketeers” and the final swashbuckler the actor would make. “I thought it was the end of fine art,” Dwan exclaimed to Peter Bogdanovich in his book, “Who the Hell Made It,” about the emergence of the talkies. Despite his reluctance to move to sound, Dwan made some of his best pictures late in his career, and as evidenced by MoMA’s retrospective last summer, he is one of the most underappreciated of the classical Hollywood filmmakers. He had one of the lengthiest careers within the studio system, so long that, as relayed to Bogdanovich in the same book, the director Orson Welles once exclaimed: “He started directing, didn’t he, just about the time of the invention of the electric light?” Speaking of Welles, he’s represented in the program with “Too Much Johnson,” his first film, an unfinished silent work in three parts shot in 1938, and recently discovered in a warehouse in Italy. On the more obscure front, there’s “To The Last Man,” a low-budget 1933 Randolph Scott western directed by Henry Hathaway (unfairly categorized under the “Lightly Likeable” section in critic Andrew Sarris’s “American Cinema” tome), and two Poverty Row curiosities: restored 35mm prints of Edgar G. Ulmer’s melodrama “Her Sister’s Secret,” and Alfred L. Werker’s subversive “Repeat Performance.” At the center of the festival are two films from Hollywood journeyman John Boorman that give unusual insight into his eclectic body of work. “Leo the Last” stars Marcello Mastroianni in one of his best performances, and the film, composed of a muted color palate, stands in contrast to “Excalibur,” which explodes in hazy shades of blacks, blues, and purples, a hallucinatory take on the King Arthur myth that is almost the complete opposite from the more boots-on-the-ground “Leo.” Both films display the wide range of the formal and narrative modes Boorman is capable of, and deserve to be slotted next to his more famous work such as “Deliverance” and “Point Blank.” For more cinematic hallucinations, there’s “The Bubble,” a 1966 oddity written and directed by Arch Oboler that was supposed to be the launch of the 4-D Space-Vision, a system that never took off. If that’s not enough images jumping off the screen, the “3-D Funhouse!” program features a handful of rare shorts from the 1940s and ’50s made in the United States, Canada, and the USSR. “To Save and Project” is simply too massive to address everything, but for the sake of brevity a few that you’d be foolish to pass up: Derek Jarman’s startling twofer “Caravaggio” and “Sebastiane,” both presented in digital 2K restorations; the sadly departed Raul Ruiz’s “The Golden Boat,” a truly bizarre film from the master of bizarre films, shot in the streets of New York and starring members of the Wooster Group, Jim Jarmusch, Vito Acconci, and many, many more; “The White Game,” made by the Swedish documentary collective Grupp 13 about a clash between student activists and racist police in May 1968; and the rambunctious “Joe Bullet,” the first film made in South Africa with an all-black cast that promises to stand tall next to the best Blaxploitation-classics of the era. Among the rarities and treasures from around the world that are ripe for rediscovery, one of the most interesting will be the recreation of the “Cine Virus” program from 1978, organized by Michael Oblowitz and the now-famous Hollywood filmmaker Kathryn Bigelow. The original program was pegged to the release of a special issue of the journal Semiotext(e) called “Schizo-Culture,” and its reappearance is presented in conjunction with “The Return of Schizo-Culture,” a performance at MoMA PS1 in November. Among the highlights are legendary NYC underground filmmaker Eric Mitchell’s “Mass Homicide,” Bruce Connor’s “Mongoloid,” with music by Devo, and a rare screening of Bigelow’s “Set-Up,” her student film at Columbia that was recently preserved by MoMA, which features two men fighting (one of them weirdly the bug-eyed actor Gary Busey) and the semioticians Sylvère Lotringer and Marshall Blonsky in voiceover deconstructing the images we’re seeing on screen.  Published: October 24, 2014 Read full article here

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