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Slideshow: Frieze London Ups the Ante for Its Twelfth Outing
10/10/2014
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: FairsShort Title : Frieze London Ups the Ante for Its Twelfth Outing Read full article here

Parts and Labor: Michelle Grabner Gets to Work
10/10/2014
Parts and Labor: Michelle Grabner Gets to Work“Boredom is really important to me,” said Michelle Grabner, standing among the pattern-based paintings in her debut solo exhibition with James Cohan Gallery in New York. “Situational boredom,” she clarified. Meaning a certain mindset that can be achieved, in the studio, through concerted effort, labor, and mark-making. (In discussing all of this with her, I actually do a good job of avoiding uttering the words obsessive or meditative.) Grabner certainly doesn’t seem bored, and this past year shouldn’t have left her with all that much time to sink into lethargic contemplation. She’s many things in addition to simply being an artist. She’s a Midwesterner — oscillating between Chicago and Milwaukee — a regional identity that’s important to her career. She’s an occasional curator, most recently part of the trio charged with organizing the 2014 Whitney Biennial. She’s a wife and a mother of three, as evidenced by a large-scale photograph, taken in the garden outside of her Milwaukee studio, which captures the whole clan; that photo is framed and suspended as one element in a hanging sculpture at James Cohan, the tenth in a series of “oysters” that Grabner has constructed. (The oyster is large, it looms, it’s composed of a sort of enormous-contact-lens-shape of bashed garbage can lids to which she’s affixed a silverpoint tondo painting, the aforementioned family portrait, and a cast-concrete sculpture of a chair her daughter once used, among other things.) She’s also a teacher — a visiting professor at Bard earlier this year, now returned to the Art Institute of Chicago — and most likely a very good one, based on the eloquent-but-no-bullshit way she discusses her own work. She’s fond of the adjective vernacular, in a positive sense. A painting of a “granny quilt” with an X pattern in its weave reminds her of a riff on a “domesticated” version of Christopher Wool or Wade Guyton.    What’s with the blankets, the gingham, the textiles, you ask? They’re not special blankets, Grabner clarified. Post-grad school, when she was a young mother, she made a lot of paintings that focused on pattern, but in a specific, and very personal, sense. “I was really drawn to patterns in my domestic middle-class lifestyle: The blankets that the kids were swaddled in,” she said. More recently, she “wanted to revisit that same kind of domestic patterning, but without the nostalgia.” Remove the biographical connection and it’s more about process — Grabner stretches the actual fabrics across the canvas, using them as a type of stencil, spray-painting atop the textile and then fleshing out the image with glossy, hardware-store-bought enamel paints that she said people often mistake for the texture of ceramics. As such, she explained, they occupy that weird space between the abstract and the figurative: Pattern-based, but also clearly depicting a real thing that exists in the world.  At James Cohan, the front-room installation visible from the street includes a low-lying stage strewn with woven-paper works paired with highly detailed close-up photographs of layered gingham fabric. Grabner has been weaving paper for a while — it’s “math and counting,” she said, and ties back to the philosophies of Frederich Fröbel, the progenitor of kindergarten. When one of her sons was a grade-schooler, Grabner recalled, he came home from school with a basic woven-paper assignment. She made a representational painting of the abstract craftwork; later, she started making actual weavings. An array of them are also laid out beneath the aforementioned “oyster,” their colors reflected in the metal of its garbage-can shell. Not included in the exhibition, but tucked in a back room during my visit, are two familiar examples of Grabner’s practice, both tondo-shaped paintings. One is a huge, circular canvas with a hypnotic, eye-wiggling spiral pattern — an Archimedes spiral, she clarified, composed of hundreds of tiny, silvery dots. (Grabner dabs a small brush with pigment, then dot, dot, dots, each sphere gradually diminishing until the brush is reloaded, a structured-chance-based process that has much in common with Polly Apfelbaum’s recent marker-on-textile works.) Leaning against the viewing room wall there’s also a pair of small silverpoint tondos, for which Grabner loads a soft, 18-gauge silver wire into a stylus and marks with the metal as if it were a pencil. These pieces change over time, she said, darkening as they oxidize — more quickly in polluted cities. (She also does these works in goldpoint, but “it’s the least interesting — because it’s inert. It stays gold.”) And so Grabner makes work, informed by boredom, that isn’t boring in the least, and labors over repetitive patterns and motifs that somehow don’t read as laborious or repetitive. “The danger of the work is decorating,” she said. “Overdesigning, particularly in install, could be devastating.” Yet despite the reliance on patterns — jovial, domestic, familiar, homebody — the end result is anything but rigid. Grabner takes the ordered grid and disturbs it — like a de-woven piece of burlap, the subject of another small series featured in this exhibition — smartly teasing apart the threads of convention.  Published: October 10, 2014 Read full article here

Week in Review: From Joan Jonas to JMW Turner, Our Top Stories
10/10/2014
Week in Review: From Joan Jonas to JMW Turner, Our Top Stories— Wendy Vogel talked to US Venice Biennale Rep Joan Jonas about her current HangarBicocca retrospective. — Martin Gayford reviewed “Late Turner” at the Tate. — Ashton Cooper interviewed Mickalene Thomas on her foray into bronze sculptures, now on view at Kavi Gupta in Chicago. — Anneliese Cooper spoke with Kevin Moore, the artistic director of Cincinnati’s FotoFocus Biennial, which opened Wednesday. — The University of Texas, Dallas and the Dallas Museum of Art premiered their brand new art history institute. — In the Air dreamed up five films that Marina Abramovic and Lars Von Trier should make together.  — The Yerba Buena Center for the Arts announced that it would devote an exhibition to the legacy of the Riot Grrrl punk feminist movement. — The Met opened its ambitious show of Pieter Coecke Van Aelst’s Renaissance tapestries. — eBay launched a live auction hub with Sotheby’s just in time for the November auctions. — Craig Hubert reviewed Paul Thomas Anderson's "Inherent Vice" at the New York Film Festival. — Patrick Pacheco wrote a tribute for two-time Tony Award winner Geoffrey Holder. — Reporting from the New York Film Festival, Craig Hubert reviewed Olivier Assayas’s “Clouds of Sils Maria,” starring Juliette Binoche. Published: October 10, 2014 Read full article here

Meet the Architect Who Wants to Put Artist Studios on Cargo Ships
10/10/2014
Maayan Strauss, an artist and architect, is no stranger to the creative studio. After studying architecture at the Bezalel Academy in Jerusalem and in the middle of earning an MFA in photography at Yale, the polymath sought out an altogether different kind of studio space: a freight cargo ship that typically carries commercial goods, not people. Her own transatlantic trip was the impetus for Container Artist Residency, a program that seeks to transform freighters into temporary artists studios. When the Storefront for Art & Architecture announced a competition for the Worldwide Storefront, requesting proposals for alternative creative production platforms around the globe, Strauss saw a natural fit for her conviction that a space need not be a place. So did jury members Joseph Grima and Beatrice Galilee, who selected Container Artist Residency as one of 10 projects to receive seed funding through Worldwide Storefront. Documentation from Strauss’s initial transatlantic trip is on view at Storefront’s Kenmare Street space through November 21, and materials from artist Carlos Vela Prado’s upcoming pilot residency will be added next month. “Artist residencies are typically tied to a geographical place, while this project is anchored in a context and not in one physical location,” said Strauss. “Global commerce then becomes the immediate work environment, rather than the fuel for the creative economy in which artists make and sell their work,” she added. ARTINFO lured Strauss out of her own New York studio space to learn more about her unorthodox approach to transience and art-making. How did you conceive the Container Artist Residency? Between my first and second year at the Yale photography MFA in summer 2011, I went to Israel for the summer and I didn’t have a flight back to the States. A friend asked when I was coming back to New Haven, and I sort of joked, “I’m really broke so I don’t know if I’ll be able to.” He responded that I should just go on a freight ship. And I laughed and thought it was brilliant. I spent part of the summer between my first and second year, almost a month, trying to get a freightliner to agree to take me on board and to let me take photos. They almost never let people who don’t work on the ship travel on board, and usually, that has to be planned months in advance. But your first education is in architecture. How did that impact your thinking about the initial trip? Firstly, I was frustrated with the idea that it’s so expensive for me to travel while everything around me — like basic commercial goods — travels all the time. It was a response to a really basic frustration when you don’t have the funds to travel, and you’re thinking about objects moving around in a very material and spatial way. But as regards the experience, it’s really interesting because in terms of city planning and the structure of our contemporary cities, you have the façade, the city center that are the image of this economy where you shop. But the ports are on the outskirts of every city, but typically very hidden — behind a fence, in an area that is on the way from A to B but not itself a destination. I wanted to penetrate that — they’re very restricted environments — and eventually, entering the port in Haifa where I boarded was an amazing experience. Quite surreal: heavy machinery, bells ringing, workers moving around, utter commotion that feels archaic. It was like going the behind-the-scenes of the global commodities economy. Boarding the ship was also an interesting spatial experience. Once you’re out on the sea, there’s a really strong contrast between the vastness of the sea and the containment of the interiors that you’re in. And being on the ship as a passenger and an artist is interesting, because everyone else on the ship is working. You’re the only person there who isn’t assigned some specific task necessary for the completion of the trip and the management of the ship. It makes you realize that you’re almost never in spaces that you aren’t assigned to be in. The whole project is basically architecture — it’s not about building anything, it’s about appropriating and reactivating a space that is often overlooked. What kind of work did you produce during your trip on the ship? I was on the liner for almost three weeks, first stopping around Mediterranean ports and then making the transatlantic trip. I mainly took photographs and videos during that time, and after getting back I was trying to sort out all the materials I had produced. I’m not just a photographer, but also an architect, and I felt like there was something more to be done with these materials and with the experience, a bigger conclusion to be drawn about creative spaces. I had the idea to develop a residency out of that trip before I even graduated from Yale in 2012. I got in touch with Maersk, the biggest freighter company in the world, and started developing a proposal for commercial shipping lines to facilitate the project. It’s interesting — most museum money today comes from private donors who have their own commercial interests. I think it would be interesting to see artists behave in an equally commercial manner, and engage openly with business entities like liner companies to facilitate the realization of their own ideas. What is the state of the container residency project now? How did you become involved with the Storefront for Art and Architecture? I was trying to pitch the idea to a couple of big shipping lines, and realized in the process that it’s close to impossible to form a collaboration as an independent artist with one of those shipping lines. But in the process of collecting and developing more materials, I became more certain of the conceptual value of the project. So when I heard about Storefront’s open call in January of this year for projects about multi-locus unorthodox spaces, I already had a proposal for it. I found out in mid-March that I won. And what does your participation in Worldwide Storefront entail? Well, I’m part of the current exhibition in the Kenmare Street gallery space, which contains documentation from my original trip. As part of the show, I’m also sending a pilot artist, sculptor Carlos Vela Prado, to do a two-week trip from New York to the Panama Canal by freighter. He’s going to be living on board in the same kind of cabin that the crew lives in, which is pretty much a small hotel room that will double as his studio. It’s pretty open in terms of the work he’s going to do. An important part of the experience is that there’s no Internet on board the ship, which is actually quite exotic in that we’ve become so unaccustomed to not having ongoing communication. Because of that, your sense of place is determined not by a GPS app, but by immediate surroundings: climate, light, and the landscape, or in this case, the seascape. So not only is a ship interesting on a basic architectural level — structurally and as shelter — but the materials that the artist works with on the ship are also the architect’s basic materials, in a sense. And being largely isolated from land and from technology, the artist can reexamine their own daily life and the role of technology in their practice. I don’t necessarily imagine the artist will make work only on board. I imagine them having this trip as a kind of educational experience, and then making the work afterwards. Meet the Architect Who Wants to Put Artist Studios on Cargo ShipsSelect Photo Gallery: Slideshow: Meet the Architect Who Wants to Put Artist Studios on Cargo ShipsPublished: October 10, 2014 Read full article here

In Briefs: 8 New York Gallery Shows to See This Month
10/10/2014
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : 8 New York Gallery Shows to See This Month Read full article here

Jason Rhoades at David Zwirner
10/10/2014
Artist: Jason Rhoades Venue: David Zwirner, New York Exhibition Title: PeaRoeFoam Date: September 11 – October 18, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of David Zwirner, New York/London Press Release: David Zwirner is pleased to present its first exhibition of Jason Rhoades’s work […]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

Slideshow: Sotheby's, Christie's, and Phillips Court Frieze Week Collectors
10/10/2014
Language English Featured: 0Order: 0Slideshow location: Slideshow ICONSlideshow ICONAuthor(s): Benjamin ParkSub-Channels: FairsReferenced Artists: Francis BaconEnrico CastellaniPiero ManzoniAgostino BonalumiJean-Michel BasquiatBanksyShort Title : Sotheby's, Christie's, and Phillips Court Frieze Read full article here

BLOUIN Lifestyle Pick: Andy Warhol's Fashion Prints at Christie's
10/10/2014
Language English Featured: 0Order: 0Author(s): Michelle TaySub-Channels: AuctionsShort Title : BLOUIN Lifestyle Pick: Andy Warhol Fashion Prints Read full article here

Long Island City
10/10/2014
Language Undefined Location Website: http://www.sculpture-center.org/Display: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Neighborhood: Fort GreeneLocation Phone: +1 718 361 1750Admissions: Suggested Donation:; Adults: $5.00; Children: Free; Seniors: $5.00; Students: $5.00Collections: Sculpture in metal, wood, glass, mixed-mediaHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Thursday to Monday 11:00AM to 6:00PMlocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Amal Alamuddin Tackles Elgin Marbles, Frick Remodel in Jeopardy, and More
10/10/2014
Amal Alamuddin Tackles Elgin Marbles, Frick Remodel in Jeopardy, and More— Amal Alamuddin Tackles Elgin Marbles: Attorney Amal Alamuddin, who you may have heard just married George Clooney, has been recruited to advise Greece on getting the Elgin Marbles back from Britain. She is set to travel to Greece to meet with Prime Minister Antonis Samaras and Culture Minister Konstantinos Tasoulas, along with other government officials. No word if her husband, who stumped for the return of the marbles earlier this year, will join. [The Guardian] — Frick Remodel in Jeopardy: There are already plenty of high profile oppositionists to the Frick Collection’s expansion plans, but yesterday New York’s Historic Districts Council officially came out against it — a decision that can influence the city’s final ruling on the matter. In a statement, the group said that the expansion “will destroy the design intent of Thomas Hastings’ residential composition and John Russell Pope’s graceful museum transformation.” It also warned the Frick against “giving in to the mania for mindless growth that has afflicted so many other New York institutions.” [NYT] — Gago Plans Walter De Maria Show: Today in Carol Vogel’s column, she reveals that this November, Gagosian will present the very first show from Walter De Maria’s estate, an entity Gagosian is also working to set up. “He kept pretty good records, and we’re planning to do an inclusive monograph,” Larry Gagosian said. “Walter was never interested in money. That wasn’t a priority.” [NYT] — French Feminists Rally Against Kiss Sculpture: French group Osez le Féminisme wants Seward Johnson’s sculpture of the figures in Alfred Eisenstaedt’s famous Times Square kiss photograph removed from a memorial site in Normandy. And in other art news from France, it looks like the Paris art scene is heating up. [NYT, WSJ] — East of Borneo: Carolina A. Miranda has an interesting piece about the website East of Borneo, where all of the art history dug up by “Pacific Standard Time” now lives online. [LAT] — Here are some more details about LA’s big Hello Kitty retrospective before it opens tomorrow. [LAT] — Indonesia is applying to have its celebrity cave paintings added to UNESCO’s World Heritage List. [AFP] — British actor Timothy Spall, who plays JMW Turner in the new biopic, took his painting teacher to the premier of the film. [Telegraph] ALSO ON ARTINFO "Art in the Age of the Anthropocene" at the 2014 Taipei Biennial Studio Tracks: Jake Dibeler’s Whacked-Out Playlist Instagrams of the Art World: Matisse Cut-Outs, Jasper Johns, Yoko in Reykjavik, and More The Musée d’Orsay Commissions an Orgy in Honor of “Sade” Check our blog IN THE AIR for breaking news throughout the day. Published: October 10, 2014 Read full article here

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