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Tom Friedman at Luhring Augustine Bushwick
Luhring Augustine gallery’s Bushwick location is a destination. An artistic mansion in the realm of the neighborhood’s many creative shacks, it provides a site for contemplation, which is why the exhibitions on view at this outpost do not usually invite a quick read. Tom Friedman’s second solo show (through August 9) with the gallery is no exception. A sublime display of mostly monochromatic works made with paint and Styrofoam that simulate paintings in a variety of genres and styles, along with a selection of everyday objects rendered downright realistically, the 15 works here have the power to capture the spectator’s eye, imagination, and sustained attention. The first work on view, Mountain (all works 2014), depicts an all-white landscape with a rocky terrain below and snow-filled sky above. The frame, dimensional peaks, and larger-than-life snowflakes have all been convincingly carved from blue Styrofoam and flatly painted white. Blue Styrofoam Seascape is a faux-framed view of an evenly split horizon of sea and sky rendered in the deadpan manner of a black-and-white Hiroshi Sugimoto photograph, while the canvas-like Night slyly mimics the elevated brushwork and scene of Van Gogh’s Starry Night in nocturnal black. Toxic Green Luscious Green and Blue ape Pop Art paintings with found objects attached to the surface, but in Friedman’s mock canvases, everything from locks and guns to pretzels and puzzle pieces are cut and shaped in Styrofoam and painted in matching colors. Even though the artist refers to the wall works as “sculptures of paintings,” other pieces in the show are fully three-dimensional. The elongated Purple Balloon, suspended from the ceiling by clear fishing line, enchantingly floats in space not far from a corner installation entitled Moot—a fake guitar, microphone, and stool that await a performer. Echoing the silence that permeates the show, Moot lies directly across from See, an ersatz eyeball placed in the opposite corner to smartly remind viewers that there’s more to this show than what meets the eye.  A version of this article appears in the October 2014 issue of Modern Painters magazine. Tom Friedman at Luhring Augustine BushwickSelect Photo Gallery: Slideshow: Tom Friedman at Luhring Augustine Bushwick Published: July 23, 2014 Read full article here

Sigmar Polke at MoMA
Artist: Sigmar Polke Venue: MoMA, United States Exhibition Title: Alibis: Sigmar Polke 1963–2010 Date: April 19 – August 3,  2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of MoMA, New York Press Release: Alibis: Sigmar Polke 1963–2010 brings together the work of Sigmar Polke (German, 1941–2010), one […]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

Turrell Awarded National Medal, Winklevii Invest in Paddle8, and More
Turrell Awarded National Medal, Winklevii Invest in Paddle8, and More— Turrell Nabs National Medal: James Turrell is set to receive the National Medal of the Arts from President Obama next week at the White House. Turrell is being honored for “capturing the powers of light and space” in a way that “builds experiences that force us to question reality, challenging our perceptions not only of art, but… of the world around us.” Other honorees include Linda Ronstadt, Bill T. Jones, and Maxine Hong Kingston. [LAT] — Winklevii Invest in Paddle8: Cameron and Tyler Winklevoss, the twins famous for their very public fight with Facebook founder Mark Zuckerberg, have announced their investment in online auction house Paddle8. The twins are also well known for their support of the burgeoning digital currency bitcoin, which Paddle8 hasn’t committed to as an accepted form of currency yet, but has considered as an idea for future sales. Tyler said in an email to Fast Company, “The art market is global and like many global markets it currently feels the pain, inefficiencies, and high-costs of our current payment systems. Bitcoin rethinks the way we transfer value. It is borderless, frictionless, and instant and should be able to bring these qualities to art transactions just like any other transaction.” [FastCo] — Met Head Becomes US Citizen: British-born Metropolitan Museum of Art director Thomas P. Campbell was among those who became US citizens in a naturalization ceremony hosted at the museum yesterday. Campbell and 74 others pledged allegiance in the American Wing’s Charles Englehard Court. “I am humbled and proud to be sharing this day with my fellow new citizens and delighted to be in this magnificent space for this occasion,” Campbell said. [Gallerist, WSJ] — Museum for African Art Cuts Budget: The budget for the still-under-construction Museum for African Art has been cut by $40 million from its previous $135 million estimate, due to difficulty raising the funds. [NYT] — Is Art Theft Really the Third Biggest Criminal Trade? A June 2014 conference at NYU’s School of Law named art theft the third highest-grossing criminal trade in the world over the past 40 years, according to Newsweek, but Art Market Monitor’s Marion Maneker points out that “grossing” doesn’t acknowledge that most art thieves actually don’t make big bucks off their loot since it’s hard to sell stolen goods. [Newsweek, Art Market Monitor] — Celebs Ban Together Against Venice Ships: Celebrities Cate Blanchett, Susan Sarandon, and Calvin Klein have penned a letter to Italy’s Prime Minister Matteo Renzi and Ministry of Culture Dario Franceschini calling for a ban against cruise ships in Venice. [Speakeasy] — Gallerist has an interesting look at artist assistant jobs. [Gallerist] —  The DC Commission for the Arts and Humanities has cancelled Mia Feuer’s climate change art installation, which was set to be installed in the Anacostia River. [Grist] — The Albany Museum of Art’s director Karen Kemp has resigned. [Albany Herald] ALSO ON ARTINFO Luxembourg Picks Filip Markiewicz for Venice Biennale Christopher Williams Goes Label-Free at MoMA Review: Ryan Lauderdale and Jessica Sanders at Kansas Check our blog IN THE AIR for breaking news throughout the day. Published: July 23, 2014 Read full article here

Caught Between East and West: Kasimir Malevich at Tate Modern
LONDON — There are many aspects to the art and career of Kasimir Malevich (1878-1935). But, especially right now, the most poignant fact about this great pioneer of abstract art is that he came from Ukraine. The son of Polish émigré parents, he was born near Kiev, sometimes signed his name in its Polish form — Kazimierz Malewicz — and did not move to Moscow until he was 25, in 1905. In other words, he was caught between east and west, and that perhaps more than any other factor explains the strange trajectory of his career. A remarkable exhibition at Tate Modern (through October 26) charts his brilliant but erratic course. First, the young Malevich took an almost delirious plunge into the avant-garde movements of the early 20th century. In the early rooms you see him working his way through the most advanced styles of the day at warp speed: Seurat’s pointillism, Gauguin’s symbolism, Matisse’s fauvism. Sometimes these idioms appear in odd combinations. “Church,” c. 1908, presents an Eastern Orthodox building, painted in an almost monochrome combination of greys, beiges, and whites — but executed in Van Gogh’s fervent brush-strokes. The effect is odd: Vincent’s Provence transposed into a northern, Slavic key. It was a move he was inclined to make in the years immediately before the First World War. By this time, Malevich had — briefly — settled into an idiom he dubbed “Cubo-Futurism.” This consisted of liberal borrowings from the almost contemporary works of Picasso, Braque, Léger, and the Italian Futurists, but, again, with an Eastern European twist. “Desk and Room,” 1913, is pure Parisian cubism, except for insistent patches of a very Russian — and very unCubist — red. “The Woodcutter,” 1912, and “The Mower,” 1911-12, both have a good deal in common with Ferdinand Léger’s personal variant of Cubism — dubbed “Tubism” because of Léger’s reliance on reducing all forms to cylinders. But Malevich’s subjects — in both cases traditional bearded and smocked Russian peasants — have a directness and pared down simplicity that recalls Eastern Orthodox images of saints. Those modernist peasant icons were to recur in Malevich’s art a decade later. The Cubo-Futurist work that best predicted his own immediate future, however, was “Lady at the Advertising Column,” 1914. This consists of colored rectangles in pink, yellow, and purples, superimposed over Cubist filigree of Cyrillic letters and fractured planes. Next, it seems, Malevich realized he could do away with the detail, and just make a picture out of those rectangles. The result was one of the most startling and powerful works in the Modernist canon: “Black Square.” This extraordinary painting is like a punctuation mark in the history of art. It is just there, looming in front of you with a force that exceeds any earlier abstract pictures. To find an abstraction of comparable punch, you have to look decades later — at Richard Serra’s work of the 1960s and ’70s, for example. It is one of the few mistakes in an otherwise well-chorographed exhibition that the biggest and most forceful “Black Square” — Malevich produced several versions starting in 1915 — is hung in the same room as a filmed recreation of an avant-garde theatrical production from 1913, “Victory Over the Sun.” The latter, though no doubt of historical importance, comes across like a rather weird production for children’s television. But because it is noisy, and moves, everyone looks at the film, not the painting. Actually, what to do with “Black Square” posed a problem for Malevich himself. How do you follow that? His initial response was to retreat a little into more complicated geometric abstract, in a style he called “Suprematism.” But it is obvious from the rooms in which these hang at the Tate, that the simpler — that is, the closest to “Black Square” — the better these are. The more colors and forms he introduced, the less forceful and memorable the results. Better are the pared down works of 1917-18, such as the wedge-shaped “Yellow Plane in Dissolution,” and the audacious white on white paintings of the same period. But none are quite as stunning as “Black Square.” Malevich tried several directions, including architectural models which should perhaps be classified as Suprematist sculpture, since he doesn’t seem to have devoted much thought to the function of these structures, or what rooms might be made inside them. By the late ’20s and early ’30s, he found himself living inside a totalitarian country — with Stalin firmly in control — where there was no room for a radical artistic avant-garde. That was, after all, an alien idea imported from Paris. Eventually Malevich returned to painting modernist icons of peasants. This cannot be seen as an attempt to conform to the new state-imposed style of “Socialist Realism.” As the catalogue points out, in the era of forcible collectivization, peasants were not a politically-acceptable subject. It looks more as though Malevich lost his way as the world around him lurched into dictatorship. Even so, his last works do not show a straightforward decline. Admittedly, a few of the late figurative portraits are dire, but others showing Malevich and his friends in Italian Renaissance costume are much stronger: the effect is weirdly retro, but this was also a covert way of flaunting strong, Suprematist color. These are bizarre, but perhaps true images of Russia’s avant-garde, disguised and lost in the era of Stalin’s purges. Caught Between East and West: Kasimir Malevich at Tate ModernSelect Photo Gallery: Slideshow: Kazimir Malevich at Tate ModernPublished: July 23, 2014 Read full article here

Katrín Sigurdardóttir at Sculpture Center
Artist: Katrín Sigurdardóttir Venue: Sculpture Center, New York Exhibition Title: Foundation Date: June 2 – July 28, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Sculpture Center, New York. Photos by Ron Amstutz. Press Release: New York City – SculptureCenter is pleased to present […]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

Hans Ulrich Obrist and Klaus Biesenbach Talk About 14 Rooms Live Art Exhibition
For the group exhibition 14 Rooms in Basel (Switzerland), the curators Klaus Biesenbach and Hans Ulrich Obrist invited fourteen international ... Read full article here

Cover Image: Print Url: Url: Type : Blouinartinfo AsiaMagazine Year: 2014Story:  Column Name: THE ART OF LIVINGStory Title: ART ON THE WRISTDescription: The attraction of antique clocks. Author name: Michelle TayPage no: 41Is Featured: Select if it is featured story Column Name: THE ART OF LIVINGStory Title: A RENAISSANCE JEWELERDescription: Giampiero Bodino, on a new journey. Author name: Sonia Kolesnikov-JessopPage no: 46Is Featured: Select if it is featured story Column Name: THE ART OF LIVINGStory Title: FORM AND FUNCTIONDescription: The menagerie of Rembrandt Bugatti. Author name: Judd TullyPage no: 51Is Featured: Select if it is featured story Story Title: ART ON THE ROADDescription: Bentley and the sheer drive of beauty. Page no: 57Is Featured: Select if it is featured story Read full article here

Cover Image: Print Url: Url: this issue: At 99, Carmen Herrera Is a Still-Rising StarMagazine Type : Art + AuctionMagazine Year: 2014Story:  Column Name: COLUMNSStory Title: On the blockDescription: Fears of a drop-off in Russian bidding at the Impressionist/modern and contemporary auctions in London this summer could be offset by participation from other countries. Author name: Judd TullyPage no: 53Is Featured: Select if it is featured story Column Name: COLUMNSStory Title: Conversation With…Description: Laura Murphy, a fine art specialist at the Chubb Group of Insurance Companies. Author name: Deborah WilkPage no: 59Is Featured: Select if it is featured story Column Name: COLUMNSStory Title: ReporterDescription: The Milwaukee Art Museum experiences growing pains.   Author name: Mary Louise SchumacherPage no: 61Is Featured: Select if it is featured story Column Name: COLUMNSStory Title: The AssessmentDescription: Works by artists from postwar Japan’s Gutai movement are gaining traction in the marketplace. Author name: Angela M.H SchusterPage no: 65Is Featured: Select if it is featured story Story Title: ObsessionsDescription: Susan Grant Lewin scours the globe to satisfy her endless desire for artist jewelry. Author name: Deborah WilkPage no: 73Is Featured: Select if it is featured story Column Name: MARKET WATCHStory Title: Artist DossierDescription: Reexamining the bronze animalia of the reclusive sculptor Rembrandt Bugatti. Author name: Judd TullyPage no: 103Is Featured: Select if it is featured story Column Name: MARKET WATCHStory Title: Auctions in briefDescription: Sales results for photographs in New York, Old Masters in Vienna, and modern and contemporary Arab art in Dubai. Page no: 109Is Featured: Select if it is featured story Column Name: MARKET WATCHStory Title: Exhibitions in BriefDescription: Reports on recent offerings from Beijing, Brussels, Cologne, and Los Angeles. Author name: Doug McClemontPage no: 112Is Featured: Select if it is featured story Column Name: MARKET WATCHStory Title: DatabankDescription: Prices for paintings by Jean-Michel Basquiat have ballooned since 2008. Author name: Roman KraeusslPage no: 114Is Featured: Select if it is featured story Column Name: MARKET WATCHStory Title: Dealer’s NotebookDescription: Parisian stalwart Daniel Templon tends a garden of international contemporary Page no: 120Is Featured: Select if it is featured story Is Featured: Select if it is featured story Is Featured: Select if it is featured story Read full article here

Cover Image: Print Url: Url: this issue: Carroll Dunham On Art Fairs, Genitals, and DraftsmanshipMagazine Type : Modern PaintersMagazine Year: 2014Story:  Column Name: COMMENTStory Title: Books: Richard House’s The KillsAuthor name: Scott IndrisekPage no: 43Is Featured: Select if it is featured story Column Name: COMMENTStory Title: Film: Remembering the Artist: Robert De Niro, Sr. Author name: Bruce W. FergusonPage no: 45Is Featured: Select if it is featured story Column Name: COMMENTStory Title: ReviewsDescription: Istanbul’s Protocinema hosts an erotically charged dinner, surveillance state dystopia at the Kunsthalle Düsseldorf, solo shows from Heidi Bucher and Mel Bochner, and more Page no: 71Is Featured: Select if it is featured story Column Name: PORTFOLIOStory Title: Newsmaker: José LermaPage no: 23Is Featured: Select if it is featured story Column Name: PORTFOLIOStory Title: Curator’s Choice: Amanda CoulsonPage no: 25Is Featured: Select if it is featured storyRead full story: Amanda Coulson On Curating and Caribbean Stereotypes Column Name: PORTFOLIOStory Title: Private ViewsPage no: 26Is Featured: Select if it is featured story Read full article here

Back to Basics: "A Master Builder" at Film Forum
Back to Basics: "A Master Builder" at Film ForumHenrik Ibsen’s “The Master Builder,” written in 1892, will be presented in a new adaptation, directed by Jonathan Demme and making its theatrical premiere at Film Forum in a two-week engagement running July 23 through August 5. The film is itself the second layer of an adaptation, using as its source material Andre Gregory and Wallace Shawn’s version of Ibsen’s ghostly tragedy, developed over a 14-year period in relative secrecy and translated by Shawn from the original Norwegian text. The group’s staging, now titled “A Master Builder,” was not done in complete secrecy. Glimpses of the rehearsals were viewed in “Before and After Dinner,” a documentary about Gregory made by his wife, the filmmaker Cindy Kleine. Aside from the living room read-throughs, the film also shows a performance staged for a select group of friends. Demme was one of those invited, and after seeing this production of Ibsen’s doomed tale of oversized hubris, agreed to direct the film version. The appearance of “A Master Builder” also makes this something of a banner year for Ibsen in New York, following the Brooklyn Academy of Music’s productions of “Builder” last summer, starring John Turturro, and “A Doll’s House” just a few months ago. But of all the recent reimaginings of Ibsen’s work, this new film is the only one to fully capture the dreamlike quality floating through the text. Shawn and Gregory, unheralded for their contributions to the American stage, are no strangers to their work appearing on screen. The duo became famous after starring in “My Dinner With Andre,” a scripted-and-filmed conversation between Shawn and Gregory, directed by Louis Malle, that blended fact and fiction and became a succinct image of New York City tweed-jacket intellectualism. More than a decade later, the three would collaborate once again on “Vanya on 42nd Street,” a behind-the-scenes documentary of a staging of Chekhov’s play that subtly shifts in a contemporary remake. Demme’s collaboration with the duo can be viewed as the continuation of what Malle started more than three decades ago. “A Master Builder,” which features Shawn in the title role, sticks pretty close to the original narrative, with one simple change: as the story opens, the Demme-Shawn-Gregory version sees Halvard Solness confined to a hospital bed, surrounded by friends and family. What happens throughout the play, including the appearance of Hilde (played with wild-eyed intensity by Lisa Joyce), emerges in a dreamlike state. Are these memories being revived? Or are they just the hallucinations of a man inches from death? Demme softly inserts himself into the middle of the action, refusing to stand back and simply capture the actors from a distance. The camera, constantly moving, often frames the actors in close up, moving back and forth calmly throughout long scenes, which heightens the tension and creates a sense of intimacy not characteristic to Ibsen’s chilly work.   But it’s ultimately the performances that keep the viewer invested in the film. As much as Demme wants to make the film something different from the stage, most of what he does here is never too complex. The film unfolds with ease, keeping the focus squarely on the actors themselves. And that’s a good thing. What makes “A Master Builder” powerful — the text — will only be damaged if the focus is shifted, and Demme’s understated presentation enlightens our understanding of a classic work of drama.   Published: July 22, 2014 Read full article here

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