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20 Questions For Cross-Country Traveler Justine Kurland
Name: Justine KurlandAge: 44Occupation: ArtistCity/Neighborhood: Lower East Side, New York You have two projects opening this September at Mitchell-Innes & Nash. The first is a series of new photos titled “Sincere Auto Care.” What inspired you to focus on cars and the open road? The cars came directly out of the train photographs — themes revolving around certain American values like freedom and self-determination. But specifically I remember driving along some highway talking to a friend who works as a landscaper on the phone.  He told me he had been working so much he felt like he was a tree.  And I realized I had been driving so much I was a car. So much of the dialogue around contemporary photography lately has been about examining the material support of the medium; in a way looking at the road is my way of looking at my own support. Also my van has 250,000 miles on it and is 10 years old. I inevitably spend a lot of my time in garages.  And I was thinking about masculinity — about raising a son, the death of my father, and rough trade.  The press release describes the photos as being in the “purely documentary style in the tradition of Walker Evans.” Do you think photographs can really be pure document? There is a difference between a purely documentary style and a pure document. Walker Evans described his work as co-opting the look of a document, in other words, the forensic quality of police report or court evidence that he subverted for his own intentions. Maybe I could say a document is always pure but the context is always biased. The second is a show you’ve curated called “Days Inn,” which centers on works that depict everyday objects but convey great emotion. Did the idea for this project arise from the long road trips you often take when working on new photographic projects? I curated “Days Inn” around the ideas I’ve been thinking about in my work recently, photography’s ability to authenticate the real while still serving as a vehicle for emotion. I’m interested in the traces or stains of lived experience. A photograph is indisputably anchored to what was there, and at the same time its meaning is unhinged, fugitive, subject to interpretation. The show uptown is not literally about road trips, but I used a highway motel as a metaphor to talk about the contradiction between something sterile but indelibly scarred, something generic but completely mysterious, as a respite from pain but the epitome of it. What project are you working on now? Right now I’m printing for my show, figuring out an installation, and making a self-published book. After that I’m going to help Diana Welsh publish some of the articles from her online magazine, Transgressor, for the PS1 Book Fair. What’s the last show that you saw? Christopher Williams at MoMA. What’s the last show that surprised you? Jay DeFeo at Mitchell Innes & Nash last spring. It was so economical and poetic, the slow mutation of objects, a Kleenex box that is Xeroxed, then collaged, then painted, and collaged again. I liked that her trajectory was cyclical rather than linear. I like that it invested everyday objects with value because of the intensity of DeFeo’s attention rather than pointing outside themselves towards value. I was surprised how much she made me care about these objects by teaching me how to pay attention to them. Describe a typical day in your life as an artist. I don’t have typical days, but the most significant part of my day is sitting by my son’s side as he wakes up and as he falls asleep, petting his soft hair and telling him the sweetest things I can think of. It is a ritual that both atones for and marks the passing time. Except for the days he sleeps at his father’s house. What’s the most indispensable item in your studio? I don’t have a studio, but my practice is dependent on camera gear, a working automobile, the cooperation of Casper and his father, and a certain amount of free time, money, and peace of mind. Where are you finding ideas for your work these days? I find my ideas by returning to my original ideas — by delving deeper or taking new turns. It’s a process of expanding returns. Do you collect anything? Photography books. What’s the last artwork you purchased? The last art book I bought that I was really excited about was Kwiekulik (Zofia Kulik and Przemyslaw Kwiek), a collaborative husband and wife team working out of the People’s Republic of Poland in the ’70s and ’80s. The most interesting pieces are tableaus where their baby is decorated by utensils and linked sausages like an illuminated manuscript. What’s the first artwork you ever sold? Claudia Gould, then the director of Artists Space, bought a piece when I showed there in 1998, which was also my first ever exhibition. I idolized her so it was terribly exciting that she thought my work was worth buying. What’s the weirdest thing you ever saw happen in a museum or gallery? The steps of the Metropolitan Museum was a favorite nighttime destination as a teenager without a fake ID or money. There is a small painting by Hieronymus Bosch that I can never find until I’m lost. I fell in love with my son’s father in front of the Japanese landscape scrolls and we named our child Casper after Caspar David Friedrich, whose painting “Moon Watchers” had been acquired by the Met three years previous. During the Courbet retrospective 4-year-old Casper said loudly in front of “L’Origine du Monde,” “Look mama, its your vagina.” Most recently I walked through the Garry Winogrand exhibition with a man I knew I never wanted to live without. A friend once told me he had seen a little old woman flicking the paintings —  “thwump” — with her fingers. I didn’t actually see it, but can only imagine she was kicking the tires because it’s all too good to be true. What’s your art-world pet peeve? Mostly I’m just grateful there is an art world. But I guess the disproportionate amount of successful white men.  What’s the last great book you read? Jane Bowles, “Two Serious Ladies.” “You must give up the search for those symbols which only serve to hide its face from you. You will have the illusion that they are disparate and manifold but they are always the same. If you are only interested in a bearable life, perhaps this letter does not concern you.  For God’s sake, a ship leaving port is still a wonderful thing to see.” What work of art do you wish you owned? A first edition Eakins Press “American Monument” by Lee Frielander. What international art destination do you most want to visit? Moscow or Mexico City or Seoul. What under-appreciated artist, gallery, or work do you think people should know about? Artists: Jean-Marie Casbarian, Rory Mulligan, Kate Levy, Paul Kennedy. Spaces: Cleopatra’s Gallery, La MaMa Galleria, Ortega y Gasset Projects, Wow Café, Interference Archive.   Who’s your favorite living artist? Joan Jonas, William Pope.L, Moyra Davey, Nayland Blake, A.K. Burns, Zoe Leonard, Patti Smith, Robert Adams, William Eggleston, Robert Frank, Lee Friedlander. What are your hobbies? Drinking, walking, and dreaming of alternative spaces. Click here to see highlights from "Sincere Auto Care" at Mitchell-Innes & Nash, running from September 4 - October 11. 20 Questions For Cross-Country Traveler Justine KurlandSelect Photo Gallery: Slideshow: 20 Questions For Cross-Country Traveler Justine KurlandPublished: September 4, 2014 Read full article here

From the Margins to the Center: John Waters at Lincoln Center
From the Margins to the Center: John Waters at Lincoln Center“They always refer to my films as cult movies and I’m never quite sure what they mean,” John Waters wrote in his infinitely readable sleaze-memoir “Shock Value,” released in 1981. “All cult really means today is that something is popular and no one foresaw its success.” For Waters, the term has always been doubly strange because, especially in the second half of his career, he has been anointed the patron saint of demented pop culture. He’s an easily recognizable figure who is more likely to show up on popular television shows and write New York Times bestsellers than gross people out in the cinema, while at the same time being wholly embraced by an art world that would have dismissed him not long ago. And let’s not forget the popular musical that was based on one of his films. Who would have ever expected that the maven of the midnight-movie would be touted on the Great White Way? The move into the mainstream isn’t a criticism. Waters’s interests have not changed much in the 50 years since he made his first film; it’s just that pop culture caught up. We now have easily available YouTube videos that rival anything Waters created in terms of filth and campiness, and people love it. So it makes perfect sense that the Film Society of Lincoln Center, housed in the highest of high-art institutions, would host the first full retrospective of Waters’s work in the United States, appropriately titled “Fifty Years of John Waters: How Much Can You Take?” The answer to the question is most likely more than you expect. Waters, who wrote in “Shock Value” that if “someone vomits watching one of my films, it’s like getting a standing ovation,” is pretty tame by today’s standards of cinematic shock. Yes, the dog feces scene in “Pink Flamingos” (1972) is still disgusting, and there are frightening hysterics in most of the films he made through “Polyester” (1981). But I’d propose they’re more interesting in hindsight for the way they subvert the traditional norms of popular Hollywood genres and throw in our face our own obsessiveness with the lower rungs of society. By embracing the idea of trash culture, Waters is simultaneously making fun of our love of it. I’ve always been a fan of the second half of his career, which is dominated by films that dial down on the lunacy. The best work of this period is undoubtedly “Pecker” (1998), a bizarrely sweet skewering of the art world’s obsession with marginal subjects. The film also sketches a trajectory similar to Waters’s own. Pecker (Edward Furlong) is a fry cook who is constantly taking pictures of the people who occupy his small neighborhood in Baltimore. When a New York gallerist (Lili Taylor) stumbles upon his work while passing through town, his photos take the New York art world by storm. Suddenly his work is featured on the cover of Artforum and the Whitney Museum is offering him his own solo show, while back home his friends and family are treated like freaks due to their newfound fame. In a movie that includes drooling candy-obsessed children and a grandmother who speaks through a statue of the Virgin Mary, Waters positions his parade of grotesqueries as residing firmly in Manhattan. When Pecker has his first solo show, he is enamored with their strange and vile behavior, taking snapshots as they circle the gallery, one critic loudly and hilariously proclaiming that Pecker is “a humane Diane Arbus with a wonderful streak of kindness.” (I think about the line of dialogue very often and hope that when I write about art, my words don’t sound nearly as ridiculous as that critic.) But Waters has more on his mind than simple social satire. The spirit of “Pecker” is more democratic, and offers a way to look at much of his work as more than exercises in filth. The fun isn’t simply in observing eccentricity, but in realizing that behavior thought to exist on the margins of society is more prevalent than we realize. We just needed somebody to carry it up to the top of the ivory tower. “Fifty Years of John Waters: How Much Can You Take?” runs at the Film Society of Lincoln Center September 5-14.  Published: September 4, 2014 Read full article here

James Lee Byars at MoMA PS1
Artist: James Lee Byars Venue: MoMA PS1, New York Exhibition Title: 1/2 An Autobiography Date: June 15 – September 7, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of MoMA PS1, New York. Photos by Matthew Septimus.  Press Release: MoMA PS1 presents the most comprehensive museum survey of […]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

Gehry's Ground Zero Design Axed, Spain Gets Pop-Up Pompidou, and More
Gehry's Ground Zero Design Axed, Spain Gets Pop-Up Pompidou, and More— Frank Gehry’s Ground Zero Design Axed: The board responsible for overseeing the planned Ground Zero performing arts center has passed on Frank Gehry’s stacked-boxes-like model and will instead choose a design from one of three other architects. “It’s fine. It’s a new group. They should do what they want. I don’t want to go where I’m not wanted,” Gehry said. Meanwhile, the project remains stalled by concurrent transportation construction and fundraising concerns — an estimated cost of up to $400 million, some of which was already allocated to Gehry before his exit. [NYT] — First Pop-up Pompidou Hits Spain Next Spring: First announced in 2012, a temporary extension of the Centre Pompidou will now officially go up in Malaga, Spain — the birthplace of Pablo Picasso — where it will remain for five years. Already confirmed as part of the outpost’s collection are works by Francis Bacon, Max Ernst, Kader Attia, and indeed native son Picasso. Plans are being negotiated for the next Pompidou to pop up in Mexico City, with possible future locations in Brazil, China, India, and Russia. [The Art Newspaper] — Artists Offer Wacky Chelsea Tour: As gallery hoppers swarm Chelsea this week, artists Jen Catron and Paul Outlaw will be driving a double decker bus (that is also a gift shop) around the neighborhood and giving art tours. Titled “Jen and Paul’s One Stop Shopping Souvenir City,” the project is a tongue-in-cheek jab at the gallery’s blue-chip residents. “There’s a rift when you grow up and want to be an artist,” Outlaw said. “You have your art heroes and this idea of what it is to make art, and then you see the dramatic difference between that and then bigger Chelsea galleries that are all market-driven. These art heroes are also commodities, not much different than selling anything else that is a collectors’ item, like stamps or gold.” [WSJ] — High Line ED Resigns: After just eight months on the job, Friends of the High Line executive director Jenny Gersten has announced she will leave the position once the elevated park’s final section is completed. [NYT] — New Leadership in Zurich: Daniel Baumann will replace Beatrix Ruf as the new director of the Kunsthalle Zurich. [TAN]— Saltz Reviews Artforum’s September Issue: “But, in a sense, more important than the articles are the advertisements — the porn of the art world.” [NY Mag]  —Michael Miller attends the launch of the Metropolitan Museum’s new app and has some pertinent questions. [ArtNews] —A $1.5 million public LED screen work in San Francisco has been glitching since its installation in 2003. [SFGate] —Swiss curator and art dealer Walter Keller and Thai painter Thawan Duchanee have died. [Artforum, Artforum] ALSO ON ARTINFO Contrary to What You May Have Heard, Darja Bajagic Is Not Crazy “God Help the Girl” Hits the Right Notes, Misses the Mark Nick Cave Scavenges From a Shameful History Steven Kasher Gallery Partners with Andi Potamkin to Create a New Space, Program Check our blog IN THE AIR for breaking news throughout the day.   Published: September 4, 2014 Read full article here

New York
Language Undefined Location Website: http://www.kraushaargalleries.comLocation Email: info@kraushaargalleries.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: SeventiesMonday - Close: 12:00amTuesday - Open: 12:00amTuesday - Close: 12:00amWednesday - Open: 12:00amWednesday - Close: 12:00amThursday - Open: 12:00amThursday - Close: 12:00amFriday - Open: 12:00amFriday - Close: 12:00amLocation Phone: t +1 212 288 2558Saturday - Open: 12:00amSaturday - Close: 12:00amSunday - Open: 12:00amSunday - Close: 12:00amMonday - Open: 12:00amHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Location Logo: location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Slideshow: Inside TEAV’s Modern Art-Adorned Boutique Hotel
Language English Featured: 0Order: 0Tags: Robert Michael PooleTEAVPhnom PenhCambodiaApsaraTravel: Trip IdeasHotels + ResortsAuthor(s): Robert Michael PooleSub-Channels: FeaturesShort Title : Inside TEAV’s Modern Art-Adorned Boutique Hotel Read full article here

Liam Gillick at Le Magasin
Artist: Liam Gillick Venue: Le Magasin, Grenoble Exhibition Title: From 199C to 199D Date: June 6 – September 7, 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 le Magasin, Grenoble. Photos by Blaise Adilon. Press Release: For more than twenty years Liam […]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

Nick Cave Scavenges From a Shameful History
Marcel Duchamp, father of the readymade, forced the world to consider mundane things as significant objects, worthy of greater-than-average contemplation — yet his bicycle wheel, shovel, and urinal didn’t come freighted with all that much history. For Nick Cave, the 55-year old, Chicago-based African-American artist who opens two shows across Jack Shainman’s Chelsea spaces today, the readymade offers a chance to engage with far more traumatic, nuanced backstories. A range of new sculptures in “Made For Whites By Whites,” at the 20th Street gallery, are built around racist memorabilia that Cave sourced at thrift and antique shops across the United States over the past few years. Sometimes the artist’s interventions on the object are minimal — as in a sculpture that gently places the grossly caricatured head of a black man, originally part of a carnival game, in two bronze hands cast from Cave’s own. In “Sea Sick,” a similarly distorted face — what was originally re-sold as a spittoon, but which turned out to be a container for tobacco — is surrounded by a structure built from found paintings of ships, a clear nod to the passage of slave vessels to the U.S. For an artist best known for vibrantly colorful “Soundsuits” and a celebrated public performance at Grand Central Station in Manhattan, this new work — much of which had its debut over the summer at Shainman’s School in Kinderhook, New York — may seem uncharacteristically raw, incorporating shoe-shine brushes, Golliwog dolls, lawn jockeys, and other grossly uncomfortable artifacts from our national past. But don’t make the mistake of thinking that the artist is reacting directly to our current news cycle. Want a quick way to feel like a naïve, 33-year-old white art critic raised in the suburban wilds of New Jersey? Try to get Nick Cave to talk about this new body of work’s relevance to what’s happening right now down in Ferguson, Missouri: “Honey, it’s always happening,” he said. These are sculptures about servitude and struggle, but also about beauty and ornamentation, and about ways in which history can be spun and reclaimed. Cave’s Golliwog doll sits atop a massive pile of blankets in “King of the Hill” — “Instead of looking down upon it, you’re looking up,” he explained. Likewise with “End Upheld,” whose base is a piano stool, a caricature of a burdened black man who is “holding up someone’s ass,” Cave said. The resulting sculpture turns this symbol of subservience into the foundation for a kind of heroic monument composed of found and salvaged trinkets. “Golden Boy” is a tangle of cheap Christmas light fixtures surrounding a statue of a young black child who was originally holding a fishing rod (a symbol more of laziness than leisure, Cave noted). The artist has replaced the rod with a rather disproportionate dildo bedazzled with sequins and Svarowski crystals. (“Fuck it,” Cave joked. “Let’s just continue all these myths.”) “Property,” an epic piece that is the first thing visitors to the gallery encounter, mixes fabricated objects with found ones, like a circa-1970s cologne bottle shaped like a pistol, or a Topsy-Turvy doll that allowed children to flip between a black servant boy and his white counterpart. These items are cupped in wooden troughs arranged on a bed of thistle seed, the whole arrangement surveyed by a repurposed lawn jockey figure. Two pieces in “Made By Whites For Whites” harken to a later, more liberated era in American history. One is a sculpture of a badminton set, its golden net trimmed by a Martin Luther King, Jr. quote (“The time is always right to do what is right”), the base topped off with a found sculpture of a hand crossing its fingers for luck. “Star Power” places a sculpture of a Black Power fist atop a stack of vintage stools. “Something in the show has to be uplifting!” Cave said, recalling the personal significance of seeing Olympic athletes give the iconic salute in 1968. Over at 24th Street in a show titled “Rescue,” the artist is presenting a very different body of work: Baroquely dense, and lacking the charged memorabilia. A series of sculptural-paintings, of sorts, hang on the wall — modeled on garden plots, Cave says, and incorporating countless bird and flower statuettes, arrayed along with jewelry on a metal armature that sits atop a stitched-quilt backdrop. These pieces are joined by a series of sculptures in which dog statues sit on upholstered furniture, shielded beneath a dome of statuettes, and creating a sort of canine “den,” Cave said. While the artist insisted the message here is as pointed as on 20th Street — that he was thinking of canines in painting’s history and class relations, and the resonance of the word “dawg” in hip-hop vernacular — the works aren’t likely to cause the same friction as those in “Made By Whites For Whites,” where the artist said he was concerned with “stripping things down” to their “bare essence.” As such, Cave seems poised on an interesting pivot — somewhere between making beautiful things and addressing ugly realities, albeit using the tools of beauty. To see highlights from "Made By Whites For Whites" and "Rescue," click here. Nick Cave Scavenges From a Shameful HistorySelect Photo Gallery: Slideshow: Nick Cave Scavenges From a Shameful HistoryPublished: September 4, 2014 Read full article here

Slideshow: Nick Cave Scavenges From a Shameful History
Language English Featured: 0Order: 0Author(s): Benjamin ParkSub-Channels: GalleriesShort Title : Nick Cave Scavenges From a Shameful History Read full article here

"God Help the Girl" Hits the Right Notes, Misses the Mark
"God Help the Girl" Hits the Right Notes, Misses the Mark“God Help the Girl” is a perplexing and curious thing: a film that seemingly wears its influences on its sleeve while at the same time bears no traces of that influence at all. Is it enough to say a work of art is an homage if it contains nothing but misguided or hollow signifiers? Written and directed by Stuart Murdoch, the film musical is based on songs he wrote for a concept album of the same name — a soundtrack to a film that did not yet exist — released in 2009. The record is similar to the work Murdoch does with Belle and Sebastian, the melodic pop outfit for which he has been chief singer and songwriter for almost 20 years, in that its gentle focus on bucolic settings and the malaise of modern life is music about and largely for teenagers.   The film doesn’t drift too far from these themes. Eve (Emily Browning), who escapes a psychiatric hospital toward the beginning of the film, wants to be a musician. While at a concert she meets another struggling musician (Olly Alexander), and the two form a close bond. Eve moves into his apartment, and soon they are joined by one of his guitar students, Cassie (Hannah Murray), and the three form a band. Relationships get in the way, there is a lot of sulking, and ultimately a bittersweet, if melancholic, ending. In between, there are songs. Since this is a musical in the most traditional sense, the characters often break into song at random. That can be great if done correctly (or interestingly). But “God Help the Girl” isn’t “Meet Me in St. Louis” for the twee crowd. The film is more defined by music videos than it is by musical films, and while the songs were written with a narrative in mind, that narrative does not translate to the screen. The movie would have worked better if it were made up of a series of musical numbers back-to-back. Instead we have spaces in between filled with pointless and repetitive exchanges, as if we’re just biding time until the next song. The transitions between the music and the story aren’t seamless, and we’re left with two separate films — a minor-key quotidian melodrama and a collection of music videos. The two are fine on their own. Together, the end result is jarring. That’s a shame because, even if you’re not a fan of the music, there are moments of pleasure to be had. The songs are joyful and inoffensively pleasant and light, and the actors are perfectly capable of handling the material, even if they often seem a little confused about what kind of movie they’re starring in. “God Help the Girl,” from the beginning, was an ambitious project, and it might have been successful if the person behind the camera were able to handle the material with more dexterity. As it is now, god help the audience.  Published: September 3, 2014 Read full article here

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