Jonas Wood at Shane Campbell
Artist: Jonas Wood Venue: Shane Campbell, Chicago Date: October 12 – November 23, 2013 Click here to view slideshow Full gallery of images and link available after the jump. Images: Images courtesy of Shane Campbell Gallery, Chicago Link: Jonas Wood at Shane Campbell Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience […]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
VIDEO: Houghton Revisited, Old Masters and the Hermitage
VIDEO: Houghton Revisited, Old Masters and the HermitageNORFOLK, UK — Modesty wasn’t on the agenda when Sir Robert Walpole, Britain’s first Prime Minister, commissioned the building of Houghton Hall in the 1720s. Intended to reflect his considerable status, the design was devised by architects James Gibbs and Colen Campbell, with interiors by William Kent, and took into consideration the fact that Walpole was also a considerable art collector too. The likes of Rembrandt, Velazquez, Poussin and Van Dyck adorned the bespoke walls of the house, forming one of most famous art collections of its time. That was until after Walpole’s death, when the extent of the debt that his Old Masters habit had caused was revealed. And so, in 1799 the collection was sold to Catherine the Great, who whisked the paintings away to be re-housed at the Hermitage in St Petersburg. Now, 200 years later, the collection has found its way back to Norfolk for “Houghton Revisited”, for which the works have been re-hung by curator Thierry Morel and Lord Cholmondeley (Houghton’s current owner and a direct descendent of Walpole) according to the original plans. Blouin ARTINFO took a trip to the countryside to see this remarkable collection in its sumptuous surroundings, talking to Lord Cholmondeley about the history and future of Houghton Hall. “Houghton Revisited” will be on display in Norfolk through November 24. Published: November 21, 2013 Read full article here
VIDEO: Richard Corman, "Madonna NYC 83"
VIDEO: Richard Corman, "Madonna NYC 83"Before she became a mononymous brand and the highest paid musician in the world, Madonna sat down with New York photographer Richard Corman. In 1983, just before the release of her self-titled debut album, the as-yet-undiscovered 24-year-old artist had all the makings of a star. Corman’s mother came across her while she was casting for Martin Scorsese's film, "The Last Temptation of Christ." In her tiny kitchenette on Manhattan’s Lower East Side, Corman took his first photo of Madonna leaning over her stove. It’s the first photo that greets you as you enter his exhibition at Milk Gallery, “Madonna NYC83.” The photos haven’t been publicly displayed in 30 years, but maintain their relevance, says the artist, because of Madonna’s clear penchant for timeless fashion. “Madonna NYC83: Photos by Richard Corman,” is on display at the Milk Gallery in Manhattan until December 15th. Published: November 21, 2013 Read full article here
Gift Guide: Most Beautifully Designed Perfume Bottles
Because perfumes should look as good as they smell, Blouin Artinfo presents designer fragrances that are a heady mix of olfactory delight, visual seduction, rarity (some are limited edition) — and, of course, make great stocking stuffers this holiday season. Agonist, a Swedish perfume house launched in 2008, manages to marry scent and sculptured art within the context of Nordic culture. Glass artists Åsa Jungnelius and Kosta Boda work their magic, for example, on the fresh “Liquid Crystal” scent, which, with notes of bergamot, patchouli, white amber and cedarwood, is complemented by a drop-dead-gorgeous glass bottle draped in gold and silver. At $1,800 a pop, however, there's certainly a price to pay for these works of art. Armani Prive’s “Cuir Noir Intense” comes in a gold-and-black bottle so sleek and mysterious, with a bottle cap reminiscent of Brancusi’s polished bronze sculptures. Inside, spicy notes with leather accents contribute to a warm and sensual scent matching the bottle's style. According to Guerlain, the bottle design for its “Nuit D'Amour” fragrance is a tribute to Gustav Klimt’s "Lady with Hat and Feather Boa" painting, and within those peach-gold walls lies a delicate floral fragrance, sweetened by lychee and spiced up with sandalwood and musk base notes. It was Louis Vuitton that collaborated with Yayoi Kusama, but we’re betting Marc Jacobs was influenced by the Japanese artist for his “Dot” fragrance for his eponymous line, too. The fragrance description: “Surprising and effervescent, energetic and alive.” Sounds about right. While mostly known for its exquisite bijoux, the bottle for Van Cleef & Arpels’ "Féerie" Eau de Parfum is sheer magic to behold. Inspired by the house’s “A Midsummer Night's Dream” fine jewelry collection, the dark blue crystal bottle is topped with a fairy, housing an equally enchantingly scented blend of violets, blackcurrant, Bulgarian Rose, Egyptian Jasmine, and Iris Butter. La Prairie’s “Midnight Rain” is part perfume, part objet d’art. Shaped as a rain drop encased in glitter, the fragrance boasts top notes of crisp green apple, verbena flower, Calabrian bergamot, and base notes of red sandalwood, vanilla and heliotrope flower. Bulgari’s “Omnia” is a classic in perfume packaging with its uniquely contemporary design — depicting two intertwining circular halves that create a sense of infinity and power. The scent delicately blends notes of bamboo, Japanese pear, lotus flower, and balsa wood, alluding to liberty, movement, lightness and spiritual uplift. Meanwhile, the uniqueness of Bottega Veneta’s limited edition fragrance is that it’s a solid parfum compact. Composed by master perfumers Michel Almairac and Amandine Marie, It features plum, pink pepper and sambac jasmine woven harmoniously — reflecting the house’s signature "intrecciato" design — into a complex and abstract combination. To see where to buy these fragrances and more, click on the slideshow. Gift Guide: Most Beautifully Designed Perfume BottlesPhoto Gallery: Most Beautifully Designed Perfume BottlesPublished: November 21, 2013 Read full article here
“Empire State” Brings the New York Art Scene to France
“Empire State” Brings the New York Art Scene to FrancePANTIN, France — At “Empire State: L’Art de New York,” on view at Thaddaeus Ropac’s new space in Pantin just outside Paris through February 15, visitors come across big names like Jeff Koons, Dan Graham, and Rob Pruitt, alongside young artists such as Antoine Catala (born in Toulouse in 1975), Nate Lowman (born in Las Vegas in 1979), Shadi Habib Allah (born in Jerusalem in 1977), and Tabor Robak (born in Portland in 1986; this is his first gallery show). The common thread? They all live and work in New York. The show spans generations, like its curators Norman Rosenthal and Alex Gartenfeld. Rosenthal, a British art critic and historian, was exhibitions secretary from 1977 to 2008 at London’s Royal Academy of Arts, where he was responsible for “Sensation,” the show that launched the Young British Artists. Gartenfeld, who is only 26, is editor in chief of Art in America and Interview and has just been named interim director of Miami’s MOCA. Together, the two are presenting a glimpse of the New York art scene through the work of 25 artists of all ages. Rosenthal told BLOUIN ARTINFO, “When the Palazzo delle Esposizioni [where the show originated] suggested that I choose a city anywhere in the world, I immediately thought of New York, which certainly has the most artists per square foot. In my opinion — and Alex agrees — New York is undeniably the international center of the arts, because it attracts artists from the world over.” To put the exhibition together, the pair (who may work together again in the future, Rosenthal says) visited more than 100 studios over two years. Their wanderings introduced them to the work of the photographer and videographer Moyra Davey, whose film “Les Goddesses” (2011) is featured in the show. From this intensive research, the “old Londoner and the young New Yorker,” as Rosenthal describes them, designed an exhibition that not only shows the work of artists based in New York but also focuses on their relationship to the city. Some artists play on its fantasies and symbols, like Batman (Joyce Pensato) or the original Penn Station (Keith Edmier). With his “Penn Station Ciborium” (2013), Edmier reconstructs one of the destroyed building's architectural elements in a sculpture evoking the idea of ruins made especially for the show. The columns of this piece are dotted with oysters, which were abundant in New York’s waters in the 19th century but were then decimated by pollution. A threat is hovering; worms devour the Apple. There’s an intruder on the list of participating artists: LaToya Ruby Frazier, who doesn’t live in New York but in New Jersey. Rosenthal wanted to have this flexibility, and wanted to avoid the feel of a biennial. The show is more of a subjective poem than a panorama of New York's artistic diversity. However, it does recall the Lyon Biennial, which features many of the same artists (Bjarne Melgaard, Antoine Catala, Jeff Koons, Michele Abeles, Tabor Robak, and Nate Lowman), who all evoke a certain Zeitgeist, according to Alessandra Bellavita of Galerie Thaddaeus Ropac. “Empire State” impresses with its museum-show quality, its monumentalism, and its sculptural nature (even in the paintings and video). The Pantin gallery, which Ropac opened in 2012, certainly has something to do with it, with its long central spaces under glass roofs and its high ceilings. After its first incarnation at Rome’s Palazzo delle Esposizioni, the show’s installation has been completely reworked by Jonathan Caplan. Upon entering, visitors encounter a sculpture by Virginia Overton in the entrance hall, a long aluminum pipe hanging diagonally from red cords — a work as simple as it is artistically forceful. The flexibility of the cord contrasts with the immobility of the metal and its weight; the knots seem about to come untied at any moment, creating apprehension — once again, a threat hovers. Further on, a wall painting by Pensato, made for the show, depicts a Batman mask with splashes of shiny black. The typical gesturalism of American abstract expressionism is mixed with the slightly crude spontaneity of graffiti. There are three works by Jeff Koons, including an inflatable Incredible Hulk that is much more indestructible than it looks (the sculpture is actually made of bronze). An entire wall is devoted to Wade Guyton’s wonderful ink-jet prints, which look deceptively like modern paintings free of any witty pretensions. No matter how much you try to pinpoint an identity for this New York art, it keeps refusing to be nailed down. “New York has changed enormously in 30 years,” Gartenfeld says. “The cliché of the punk artist is largely debatable today.” This resolutely personal selection by Rosenthal and Gartenfeld switches gears between conceptual works, such as Adrian Piper’s chalkboards with the phrase “Everything Will Be Taken Away” repeated tirelessly, and the trash phantasmagorias of Bjarne Melgaard; between the pop hyperrealism of Rob Pruitt’s dinosaurs and Dan Graham’s models, which are halfway between minimalist art and functional architecture. The eclecticism and ambitiousness of “Empire State” are evident even in its hybrid nature, as an exhibition initiated by a museum but shown by an art gallery. (While certain works are for sale, none of the artists here are connected to Thaddaeus Ropac except for Nate Lowman, who has just signed the gallery.) When Ropac’s Pantin gallery opened last year, he wondered aloud, “What if Pantin became the new Brooklyn?” “Empire State” may be a good omen. And who knows, maybe the show will be seen in New York one day, though nothing is said to be in the works right now. Published: November 21, 2013 Read full article here
Q&A: Hirokazu Kore-eda On “Like Father, Like Son”
Q&A: Hirokazu Kore-eda On “Like Father, Like Son”LOS ANGELES — Hirokazu Kore-eda’s “Like Father, Like Son,” the Jury Award winner at this year’s Cannes Film Festival, is a powerful melodrama that pulls heartstrings without ever spilling over into bathos. Its trenchant themes and compelling emotion are undoubtedly what led Cannes jury head Steven Spielberg to acquire remake writes for the film on behalf of Dream Works. Masaharu Fukuyama stars as a successful architect who, with his wife, learns their 6-year-old son was accidentally switched at birth. As he tries to correct the mistake he begins to look inward, examining his own flaws as a parent. Hirokazu Kore-eda sat down with ARTINFO recently to talk about working with Fukuyama, one of Japan’s biggest stars, and his country’s identity crisis in a floundering economy. Tell us about working with Fukuyama. He’s a huge star and it’s a surprise to see him in this type of movie. Fukuyama has only been in major studio films where he’s the big star, so I had no idea that he would even be interested in my films that tend to be much smaller. It was interesting the way he approached it. Instead of saying, “I want to be a big star in your film, write something for me.” The way he said it was, “I would love to be a resident in one of your films. I don’t have to be necessarily the lead, I could be the lead, but I just want to be in one of your films.” I thought it was very modest of him, but very like him. And your work with the children is sublime. What’s the secret to getting performances of that caliber? Ever since I shot “Nobody Knows,” the style I’ve been taking with kids is that I don’t give them a script and I don’t explain the story to them. That process really begins in the audition stage where instead of having them read lines, I’ll verbally interact with them. The boy who plays Keita, he would come to sit and play around on set and almost as a kind of extension to it just kind of flow into the performance. What I try to do more often than not is not have me explain things directly but to have the actors that are performing their fathers and mothers be the ones explaining. Although it’s not an autobiographical movie, I understand it was inspired by the birth of your first child. Obviously when you have kids you learn about your kids, but what was unexpected for me was when I had a kid it began to make me think a lot more about my own father, who has passed away. But I began to sort of remember back to my childhood and the relationship I had with my own father, which was not particularly healthy. But in trying to figure out what kind of father I want to be to my own daughter, I realize that I can’t really get to that if I don’t first process and digest the relationship that I had with my father. One of the main questions raised by the movie is what constitutes family. What have you concluded? In presenting this duality between nurture versus nature, I don’t believe that I’ve tried to give an answer, nor do I actually have one. I think a valuable lesson is to certainly realize the time with your child is very, very precious, but that isn’t to deny the importance of blood entirely. In Japan today, despite all the changes, adoption still hasn’t taken root there, it’s not very common. Japan as a nation does still value bloodlines quite a bit and couldn’t possibly deny, conservative though it may seem, that value on the blood isn’t important in some way. The film is also about identity. How does it reflect broader questions about the crisis in Japan? I think that notion of identifying oneself with the economic growth that Japan experienced for a time, that’s dead. Even myself, I found employment during the economic bubble days. Now young people are coming into the job market and they’re having a lot of trouble finding employment. So you have all these people who no longer identify with the company and economic growth, and so you have all these splintered individuals who are now being coopted by the nationalism movement. How has 10 years of recession affected national identity? Japan used to be very much a corporate culture where everybody is part of a greater whole, and that whole was a corporation, that’s who you dedicate your life to. That’s crumbled and now we have a lot of people that are trying to figure out where they belong. But in Japan, individualism never really took off the way it did in the U.S. They don’t have that strong chord that supports them. So what happens is nationalism begins to take advantage of them and bring them into their fold. That’s the danger Japan faces today. Published: November 20, 2013 Read full article here
Korean Artist Do Ho Suh Takes on Sheer Domesticity in "Specimen Series"
Korean Artist Do Ho Suh Takes on Sheer Domesticity in "Specimen Series"“The home isn’t just a physical space. It is family, it is food, it is about culture and the stories and history that was made in that house,” says Korean artist Do Ho Suh. Known for exploring concepts around this as well as the notion of private space in his work, Suh's six new works on view currently at Lehmann Maupin Hong Kong belong to his “Specimen Series”: Highly detailed life-size replicas of domestic objects from his former New York apartment (where he lived for 15 years), including a fridge and a toilet, all made out of sheer fabric. Each piece is flooded by bright fluorescent light from behind, emphasizing the transparency of the sculptures, which resemble three-dimensional X-ray scans. The exhibition coincides with an installation the artist currently has on view in his native Seoul,“Home Within Home Within Home Within Home Within Home” at Korea’s National Museum of Modern and Contemporary Art. At the opening of the Hong Kong show, BLOUIN ARTINFO chatted with Suh about the new works and our peculiar attachment to everyday objects. People say moving house is one of the most traumatic experiences a person can go through. Was it for you? Yes, I think I read research that said the death of your own child is the most stressful, then it is betrayal by your spouse, then the third most stressful event is moving. Moving is very difficult, and creating this series has helped me to process it. When I first moved to the U.S., there was a sense of loss. I wouldn’t necessarily call it longing or homesickness, but there was a sense of an absence of something very important. That’s how I started to recreate my former home in Korea. As you continue moving across the globe, will the series continue? I never plan that way. Now that I'm leaving London, people ask me if I will turn the apartment into a piece. Well, yes and no. I never plan way in advance, but I doubt I will make another very big piece right away from my London apartment. The title of these pieces, “Specimen Series,” suggests a scientific examination of things. It’s a bit cold and clinical, especially with the items lit from behind, like a specimen on a slide under a microscope. I wouldn’t say it’s clinical. It’s an emphasis on decontextualization of the object. The original objects I spent so much time with for 15 years, they almost become a part of me. The process of making the items was actually a very caring and loving one. In my memory, I have this data of measurements and things like that so that I can recreate memories. Why is the transparency of the objects emphasized here with the lighting? When these objects were in a much larger installation context, they were lost in the rest of the installation. The installations were quite translucent too. You don't get this type of attention for these pieces. This is the first time that I want to show every aspect of the piece. So it is really transparent, there’s no mystery, no tricks. It lifts up the weight of the piece, it brings the piece to a different level. They are quite spectral when presented in this manner. Yes, they are like a shed skin of energy. You spend so much time in the home and touch these objects every day; if I had the ability to trace energy, I’m pretty sure there’d be an accumulation of the energy on the object. It’s almost like I’m peeling the energy off from the object to render that sort of intangible trace of touch. Do you think we have a heightened relationship with our domestic space nowadays as more and more people stay isolated at home, only communicating virtually with the outside world? It’s happening right now, and it’s constantly changing. I’m just fascinated that Internet and smartphone culture is changing. It’s almost like we’re evolving and this evolution is happening right in front of your eyes. It’s hard to grasp it to make any comment. Would you say our home furnishings become companions to us in our everyday lives? These objects are very important landmarks within our small apartments. A close friend in New York recently moved to a much bigger apartment, but her daughter didn’t want to move out because she has this very peculiar and close relationship with the doorknob on the door to her bedroom. So she didn’t want to leave the house because of the doorknob. People make an interesting attachment to this everyday life stuff. Do Ho Suh at Lehmann Maupin Gallery, Hong Kong, until January 25, 2014, www.lehmannmaupin.com Published: November 20, 2013 Read full article here
Henrik Olesen at Daniel Buchholz
Artist: Henrik Olesen Venue: Daniel Buchholz, Berlin Exhibition Title: Hysterical Men Date: September 20 – November 23, 2013 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Galerie Daniel Buchholz, Berlin/Cologne Press Release: “I report that on one beautiful morning, I am not sure at exactly what […]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
Most Beautifully Designed Perfume Bottles
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A Family Sundered in Michael Winterbottom's "Everyday"
A Family Sundered in Michael Winterbottom's "Everyday"“Everyday” depicts the grueling effects a man’s prison sentence has on himself, his wife, and their young children. The prolific British filmmaker Michael Winterbottom shot the movie in scraps over five years, seizing days when his lead actors, John Simm and Shirley Henderson, were between other projects, and often during the Christmas holidays when the children (played by real-life siblings Stephanie, Robert, Shaun, and Katrina Kirk) were most available. The prison sequences, including visiting times, were filmed in actual British prisons with real wardens and convicts. Living in a rural community in Norfolk in eastern England, Karen (Henderson) and the kids face arduous day-long treks by bus and train to visit Ian (Simm). The reason for his conviction is not disclosed, nor are Winterbottom and co-writer Laurence Coriat disposed to judge him as a criminal, though viewers may conclude that as a father of four he has acted irresponsibly. Not being a high-security risk, he is granted days out toward the end of his sentence and on one occasion is caught, off-screen, smuggling in hash for prisoners who demanded it. Yet this can’t be attributed to recidivism. The explanation that he was frightened of not complying is justified by a beating he had previously taken (and passed off as the result of a accident). The film’s focus is on how each family member copes with separation. Upbeat during Karen and the kids’ visits and during phone calls, Ian is usually filmed on the top bunk of his cell after they leave. He looks at the ceiling, but is far away, perhaps (or perhaps not) cogitating on his and his family’s plights and how he contrived his absence. Karen, a resigned woman who works stocking shelves in a supermarket and as a barmaid, struggles on, but is not as stoical as she seems. Her face is already blotchy with tears when, on one visit, Ian coaxes her to lean forward so he can look down her dress and then asks that she talk dirty against her will. They grab hurried, anxious sex when they can on Ian’s days out. Karen admits at one point that she can’t take much more, but there are no histrionics. When, lonely, she turns to a male friend who seemingly aspires to take Ian’s place as her partner and the kids’ father, the filmmakers again withhold judgment. Her involvement with this man eventually yields a moment of melodrama so muted that it can be barely be described as such. Winterbottom veterans Simm and Henderson are admirably reticent actors who, as Ian and Karen, call to mind the Thoreau-inspired line in Pink Floyd’s “The Dark Side of the Moon”: “Hanging on in quiet desperation is the English way.” The seasons roll by — Winterbottom contrasting the open spaces of nature with the claustrophobia of Ian’s cell — and the children grow. Although Stephanie, the eldest, an adolescent by the film’s close, remains serene, the younger ones, Shaun and Katrina, are both given to crying. The boys get into fights at school and steal. Robert acts out the most. One day, he takes a loaded air rifle from a shed, mock-fires it at the back of Shaun’s head, and heads into the fields, not returning until late. He gradually develops a glower suggestive of repressed rage that does not augur well for his future. Shot in the observational, near-vérité style that also characterized the non-speeded-up sections of Winterbottom’s “Wonderland” (with Simm and Henderson), as well as his “In This World,” “9 Songs,” and “A Mighty Heart,” “Everyday” may be too dour and lacking in incident for many audiences. Michael Nyman’s score is so plangent it draws attention to itself. A likely influence here, Ken Loach would have leavened the story with gentle humor. Shane Meadows (who has directed Henderson) conceivably would have dwelt on the children’s travails. As it stands, “Everyday” is a commendable experiment in shooting over a protracted period and a persuasive social realist study of a problem that draws scant attention in the media. “Everyday” opens at New York’s IFC Center and is available on VOD on November 22. Published: November 20, 2013 Read full article here