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Baselworld 2014: Haute Joaillerie Timepieces
Language English Featured: 0Order: 0Tags: Graff DiamondsChopardCorumSonia Kolesnikov-JessopPatek PhilippeBaselworld 2014DeLaneaubulgariAuthor(s): Sonia Kolesnikov-Jessop Read full article here

Richard Strauss's "Arabella" to Open at the Metropolitan Opera
Richard Strauss's "Arabella" to Open at the Metropolitan OperaRichard Strauss’s comic opera “Arabella,” which marked the final collaboration with noted dramatist Hugo von Hofmannsthal, will make a rare string of revival performances April 3 through 24 at the Metropolitan Opera, its first since 2001. First performed in 1933 in Dresden, “Arabella” did not make it to the Met until February 1955, with famed soprano Eleanor Steber, well known for her extravagant performances on and off the stage, in the title role. Since its debut, “Arabella” has been performed 55 times at the storied institution. Most recently, Renee Fleming performed the role in a 2007 Zurich Opera production, and returned to the role at the Paris Opera in 2012. Hugo von Hofmannsthal, one of the founders of the famous Salzburg Festival (along with Max Reinhardt), met Strauss in 1906 and first worked with him on the libretto for “Elektra.” During the writing of “Arabella,” von Hofmannsthal suddenly passed away after suffering a massive brain hemorrhage at his home outside Vienna. In the new production, conducted by Philippe Auguin, Swedish soprano Malin Byström will take the title role, and German baritone Michael Volle, whom the New York Times compared to Jack Nicholson in a recent profile, will sing the part of Mandryka.  Published: March 31, 2014 Read full article here

Art Dubai Spotlights Work From the Caucasus and Central Asia
The Marker section of Art Dubai, the fair’s curated, non-commercial program of booths devoted to showcasing the art scene of a locale with cultural ties to the Middle East, began in 2012 with an Indonesian focus, expanding to a regional program by highlighting West African art in 2013. This year’s Marker cast an even wider net, examining the art scenes of both the Caucasus and Central Asia under the curatorial direction of artist collective Slavs and Tatars. The group’s own artistic practice interprets the vast geography between the former Berlin Wall and the Great Wall of China, where the rule of Russian, Persian, Mongol, Ottoman, and, most recently, Soviet empires during the past millennium produced a huge diversity of nations, languages, and religions. At Marker, the group expanded upon its own work in these realms of inquiry to display contemporary art from Transcaucasia and Central Asia. Their goal: to introduce fair visitors to the visual cultures of the relatively unknown lands that lie south of Russia, north of Iran, and west of China. Slavs and Tatars’ curatorial debut was also a project of geopolitical reorientation — an effort to present the Caucasus and Central Asia beyond the post-Soviet sphere of reference that typically colors discussion of the regions. As part of their emphasis on the regions’ longstanding ties to Islamic civilization, the artists created a Eurasian chaikhaneh tea salon at Marker’s entrance, where visitors drank, discussed, and perused books about art from the Caucasus and Central Asia. Beyond the foyer, five art spaces from across both regions exhibited alongside Art Dubai’s Contemporary booths: the Popiashvili Gvaberidze Windows Project, a commercial gallery from Tbilisi, Georgia; the North Caucasus branch of the National Centre for Contemporary Art (NCCA), a state institution devoted to promoting contemporary art in Vladikavkaz, Russia; Yarat Contemporary Art Organization, a nongovernmental arts organization from Baku, Azerbaijan; Asia Art +, a public art foundation in Almaty, Kazakhstan that also operates Astral Nomads, an online archive of regional art; and ArtEast, an artist-run art and film school in Bishkek, Kyrgyzstan. “If this region is so remote from much of the art world, then the best thing you can do is to go with the lowest-hanging fruit, with the basic things. We decided just to look at representation itself,” explained a member of the collective who wished to remain anonymous, per the group’s policy for individuals giving interviews. Thus, Slavs and Tatars established a “regime of portraiture,” as they see it, eschewing the hallmark conceptual flourishes of their own art to help regional artists represent themselves and their contemporary art scenes. Portraiture and representation also figured prominently among the artwork displayed on Marker’s walls — the curators’ efforts to represent the region gave way to artist projects rendering the distinct surroundings and identities of the Caucasus and Central Asia. Portraiture facilitates Taus Makhacheva’s inquiry into topography and national identity in her native Daghestan, a region in the North Caucasus along the Russian-Georgian border famed for its mountains and multiculturalism. Her 2013 piece “Landscape,” a series of wooden noses arranged along a straight line, invokes both the region’s physical and linguistic features (it appears in the NCCA booth). Carved in the shape of her relatives’ noses, the objects resemble a mountain range when placed one next to the other — wryly playing with both Russian stereotypes about Daghestani physiognomy and with her native Avar language, in which the words for “nose” and “mountain” are the same. Even while the arrangement of noses celebrates regional characteristics, the comical absurdity of the disjointed noses suggests, too, the deteriorating fabric of traditional Avar identity. The latter subject is addressed in Makhacheva’s 2010 video “Bullet,” also displayed in the NCCA booth. Video art, though a relatively new discipline in the Caucasus and Central Asia, proved one of the most fruitful mediums for interrogating national and regional identities at Marker. Take, for example, the work of Azerbaijani artist Orkhan Huseynov, whose video “Dancing With No Sound” was on view as part of Yarat’s presentation. Huseynov depicts middle-aged adults dancing against a green screen — a color associated with the absence of scenery, much as it symbolizes Islam in the region. The actors, clad in formal attire appropriate for a wedding or other social functions where guests typically perform folk dances, raise their arms and flick their wrists with a gait common across the Caucasus. In the absence of the festive music that usually accompanies such dancing, the actors’ movements become mere gestures. Their significance would be altogether lost in the void of context, were it not for title cards announcing the name of each dance. Huseynov underscores the fissure between ritual and identity — a quality reinterpreted throughout Yarat's booth — to mesmerizing results. Despite the apparent interest among regional artists in new mediums, Marker’s booths also included numerous pieces that reference the region’s longstanding craft traditions. Giorgi Khaniashvili’s sculptures at the Popiashvili Gvaberidze Window Project booth, or eample,  which represent Georgia through a synthesis of contemporary themes and local handicraft. Khaniashvili trained as a woodcarver; his previous work carving Georgian Orthodox icons and crosses informs his 2011 woodcut “The Smell of S**t.” A portrait of an anonymous man pinching his nose, the piece critiques the Georgian Orthodox Church by adopting the flattened, geometric features typically used to depict saints. Khaniashvili’s 2010 “Venus,” a wood figurine with an androgynous body and a head painted in the style of a female Byzantine saint, criticizes the Georgian Orthodox Church’s opposition to the country’s LGBTQ community. Khaniashvili’s social critique emerges from the stark contrast between craft and subject matter in his work, pitting traditional values against contemporary culture in Georgia. The work’s Christian motifs also serve as a reminder of the religious and cultural diversity present throughout the Caucasus; positioning all of Central Asia and the Caucasus relative to the Middle East and Islamic civilization emphasizes these disparities. Throughout the fair, the two regions and their art scenes proved so varied as to qualify for separate iterations of Marker. But as curatorial debuts go, Slavs and Tatars’ Marker was undoubtedly impressive, and what’s more, a highlight of Art Dubai 2014. The artworks on view introduced aesthetically innovative and critically insightful art scenes, which will continue to rise in prominence as institutions mature and artists expand their engagement with the commercial art world. Even now, Sotheby’s is hosting a sale of art from Central Asia and the Caucasus through April 1 in London — proof, like Marker, that the most interesting contemporary art is being bought and sold, but not necessarily made, in the cultural capitals of the West. Art Dubai Spotlights Work From the Caucasus and Central AsiaSelect Photo Gallery: Slideshow: Art Dubai Marker Section 2014Published: March 31, 2014 Read full article here

MOCA's 35th Annual Gala Arrivals
Language English Featured: 0Order: 0Tags: PartiesAuthor(s): Benjamin Park Read full article here

Slideshow: Art Dubai Marker Section 2014
Language English Featured: 0Order: 0Author(s): Regina Mogilevskaya Read full article here

Jos de Gruyter and Harald Thys at Kunsthalle Wien
Artist: Jos de Gruyter and Harald Thys Venue: Kunsthalle Wien, Vienna Exhibition Title: Das Wunder des Lebens (The Miracle of Life) Curated by: Lucas Gehrmann and Nicolaus Schafhausen Date: February 7 – May 4, 2014 Click here to view slideshow Full gallery of video, images, press release and link available after the jump. Video: Exhibition Opening: Das Wunder des […]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

Language Undefined Location Website: http://www.alphagallery.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Neighborhood: Newbury StreetLocation Phone: +1 617 536 4465Admissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: location fax: + 1 617 536 5695Guide Landing page: Region on the Guide Landing page: None Read full article here

19 Questions for “Electronic” Artist Jim Campbell
19 Questions for “Electronic” Artist Jim CampbellName: Jim CampbellAge: 58Occupation: ArtistCity/Neighborhood: San Francisco Your recently opened show at the Museum of the Moving Image is your first solo show at a New York museum. For that you are showing a never-exhibited new work — a digital self-portrait. What is that work like? The title is “Self-Portrait in Positive Light.” It’s a bit hard to describe. I started with a black and white photographic self-portrait, just a standard close up self-portrait. I carved that image based on the photograph into a three-dimensional block of resin. So what you end up with is a relief, if you will, of my face. This is the tricky part that is hard to describe — the relief represents the light variations in the photograph, it doesn’t represent the three-dimensional image of my face. In other words, my eyebrows, for example — if it was a natural relief of my face, my eyebrows would be on the surface of the relief coming out a little further. However, in this work, because the 3D-ness of it is based on light, the eyebrows go in because they’re darker. Darker things in the photograph are pulled into the relief, and brighter things come out. You end up with this odd, interesting face that is slightly confusing because of the direction things are going, but it’s really a portrait of the light. And then this resin is animated from behind. This resin also has one of my low-resolution LED panels behind it that has an image presented through it because the resin is translucent. Your show of new works at Bryce Wolkowitz Gallery features your sculptural light installations. Do you take any inspiration from minimalism or light and space? Perhaps in the way that the viewer interacts with the sculpture or the light? Yes, absolutely. To be really honest that hasn’t been a conscious inspiration, generally speaking. But I started, really, with information. I started reducing the amount of information I use to represent something to the viewers. As that information gets less and less, I would almost call it “informational minimalism.” I have been inspired both consciously and unconsciously by, for example, James Turrell’s work. You are often described as a New Media artist. What does that term mean to you? It doesn’t mean anything to me, to be really honest. Part of me still thinks of slide projectors as being new media. For me, I call myself an electronic artist. I work with electronics. Mostly, more recently, I work with light. New Media is too broad because technology is so out there that to call anything that uses technology New Media has no meaning anymore. I guess what it means is that it’s not old media. It’s not painting and static sculpture. What project are you working on now? I just finished Bryce’s show in New York and now I’m kind of catching up on things. I just finished a five-year-long project, a public art project at the San Diego Airport. It’s a 700-foot long sculpture in the concourse of terminal 2 there. It consumed me for a number of years so it’s nice to be doing smaller, more intimate work again. I have another gallery show at my gallery, Hosfelt Gallery, in San Francisco coming up in September. I’m also working on a couple public art projects. Do you prefer to do public art? Do you get a lot of people asking you to do it? I prefer to do both. I feel like public art has different demands that I don’t always like, but I think they keep me from getting too involved with my own thing. With public art you have to think about how people are going to respond to it, and the general public. It’s a nice way of not becoming too elitist or too self-referential. On the other hand, it does have all these limitations because of that. I certainly wouldn't give up doing the other work. I really like the balance. What’s the last show that you saw? The last show I traveled to see, and maybe the last show I saw period, was James Turrell’s work at LACMA. What’s the last show that surprised you? Why? I think his show surprised me even though I knew what I was getting into, because I saw works that I hadn’t seen before. In particular, the larger scale, completely engulfing works that typically can’t show except in major museums. It was the first time I’d seen a large show of his. Let me put it this way: the experience was unique as it is sometimes in his works. Kind of a unique life experience, you’re never in those circumstances in any other moments, and so it was a unique experience. I’m not sure I’d call it a surprise. Describe a typical day in your life as an artist. I get up, I typically — except before a show— make breakfast for my daughter and drive her to school. I make her lunch, again if it’s not before a show. I have a studio converted garage in my backyard and walk to that and I do work in that, kind of private more solo work. Then I drive over to my larger studio that is about two miles away and I check in with my four, five, or six constantly changing employees to see what they’re working on, give guidance, have some arguments about how things are going. I talk to my studio manager and basically manage. When I need to get work done I come back to my garage studio. Typically there are two things that happen in regard to creating work and they both happen in my backyard studio. One is electronic design because I design all the electronics in my work myself. My background is electrical engineering so I’m constantly designing new circuitry to do new things. And then the second part of that is, I guess I would put towards content. I work on content. I’ll go film something or we’ll set up a film shoot, go shoot something to put into one of my low-resolution displays. So it’s split kind of back and forth between the hard-core electronic design and then the creation of the final work where I merge the imagery that I’m thinking about into the display device, the custom electronics. Do you make a living off your art? I do. I have since about 10 years, maybe a bit more. What’s the most indispensable item in your studio? Well, I shouldn’t say computer. Let’s see. It’s probably — other than my computer — it’s what’s called an oscilloscope, which is a way of measuring electronic circuitry to figure out how to make it work the way you want it to work. Where are you finding ideas for your work these days? I don’t always like this but typically there are two aspects to my work that I just described. There’s the structural form and then there’s what goes within that structural form. And if you’ve looked at some of my work you’ve seen the low-resolution displays. Sometimes I’ll have ideas for this new way of displaying an image and then I’ll have to look for the image that will go with that. That’s a common way that I work. Sometimes it works the other way where I’ll have something in my head for a long time, content, and it will finally make sense with a medium. That’s actually what the new work at Museum of the Moving Image is. I’ve been wanting to do this kind of emerging face for many years and I’ve finally figured out a way to do it. My ideas build up. Some of the works I’ve done recently have actually been in my head for like six years or 10 years, maybe. So I basically have this constant backlog. So my ideas recently are just going into that backlog and progressing from where I was. If you look at Bryce’s show, there are a couple things in that show that I would say are part of that progression. Mostly, generally speaking, I’ve been a 2D person, but for the last couple years and then really in Bryce’s show, I’ve been going really more towards 3D. And the other thing in Bryce’s show that I’ve been thinking about — and for me is the strongest work in the show — is color. Historically, 99 percent of the stuff I’ve done has been in black and white just because I feel like I understand it well and typically I like it more. So I’m exploring color and that’s fascinating for me. What’s the first artwork you ever sold? That is a good story. I never had a show, I couldn’t get a show at any gallery in San Francisco. I tried for years unsuccessfully. I did a show myself with a friend. We rented a space in the poorest part of San Francisco called the Tenderloin, and we put up a show ourselves. And the curator from the Museum of Modern Art here came to the show. Bob Riley. He put me in his next show at the museum and the most important collector, Don Fisher, who started the Gap — recently passed away — who has probably the most important collection in San Francisco, bought that first work that I showed at the museum. What year was that?  The show in the Tenderloin was 1988, the show at the museum was 1990. On the other hand, I tried for three years. I tried for a long time to get shows in galleries and they didn’t show my work until I showed in the museum. So the museum at that point was willing to take more of a risk, if you will, than the galleries. What’s your favorite post-gallery watering hole or restaurant? In New York it seems to be Bottino, but I’m not sure it’s my favorite. It’s just where we end up going a lot in Chelsea. In San Francisco, there is a bar called Blooms in Potrero Hill. Do you have a gallery/museum-going routine? No, I’m afraid not. I’m a workaholic. What work of art do you wish you owned? I can’t tell you the name of it but it’s an Alan Rath piece. Alan Rath was an electronic artist. It uses a CRT, cathode ray tube, from an old TV set and a diffusing kind of fogged up mirror. It’s gorgeous. What would you do to get it? I don’t collect. I would like to live with it, but I’m not a passionate collector. What international art destination do you most want to visit? I’ve been to Venice but never for the Biennale. I think that would be fun. Who’s your favorite living artist? Maybe it’s James Turrell. What are your hobbies? My hobbies... I don’t have any hobbies and I say that because I’m either working or with my daughter, my family, and so I kind of go back and forth between those two things.  Published: March 31, 2014 Read full article here

Gugg Hit with Second Labor Protest, Met Sold $5.4M in Art, and More
Gugg Hit with Second Labor Protest, Met Sold $5.4M in Art, and More— GULF Hits Guggenheim With Protest: Another protest hit the Guggenheim last Saturday, when protestors from the Global Ultra Luxury Faction (GULF) staged an action in the museum’s rotunda and threw imitation dollar bills printed with phrases like “What Does An Ethical Global Museum Look Like?” from the ramps, showering visitors below and closing the museum for the evening.  GULF released a statement after the action: “The Guggenheim Museum should push to abolish the recruitment debt system, ensure that workers are paid a living wage and legalize the right to collective bargaining,” it read. In a recent statement from the Guggenheim, it claimed to be in serious discussions with leadership in Abu Dhabi, making workers’ rights a priority issue. [Gothamist]   — The Met Cleans House: The Metropolitan Museum of Art has been cleaning house as a result of its $4.4 million operating deficit in the 2013 fiscal year. Last year the museum sold 3,290 objects totaling $5.4 million, and has auctioned off near $3 million in paintings this year, including Old Masters and Renaissance works donated by former museum president George Blumenthal. Met spokesman Harold Holzer claims that all the works sold had been in storage for years, and added, “The museum is perpetually engaged in assessing its own collections, refining them, and making room for new acquisitions that merit display.” [NY Post] — MOCA Makes Bank at Gala: Over the weekend LA MOCA had its big 35th anniversary gala, which was attended by Diana Ross, Jane Fonda, Pharrell Williams, and Katy Perry. “I wish I could invite every single person in this room to stand on the podium and look at this room,” said new museum director Philippe Vergne. “It’s amazing! I wish that Mike Kelley could see this room and all of you tonight.” [LAT, LAT] — Spotlight on Phyllida Barlow: 70-year-old artist Phyllida Barlow, who taught Martin Creed and Rachel Whiteread, is having her own moment in the sun with a new commission at Tate Britain. [The Guardian] — Start-Up Museums: With nearly 10 museums currently trying to lay foundations in Washington, D.C., the city has a start-up culture all its own. [WP] — Nazi Art School in Chile: A new Chilean art school named after former dictator General Augusto Pinochet Ugarte plans to promote Nazi philosophy and has sparked outrage with both Chilean and Jewish groups. [JPost] — Helen Pashgian, an underrecognized Light and Space artist, just opened a retrospective of her work at LACMA on Sunday. [LAT] — Ceramist Don Reitz, known for reviving the centuries-old technique of salt firing, died on March 19 at age 84. [NYT] — The Isabella Stuart Gardner Museum has appointed Christina Nielson as curator of its collection and director of program planning. [AIA] ALSO ON ARTINFO John Maloof On “Finding Vivian Maier” PULSE NY Announces 2014 Exhibitors Tom Sachs Preps for “Handmade” Paris Show Selfie-Taker Breaks Ancient Satyr’s Leg Billionaire Backs Off Britain’s Van Dyck Check our blog IN THE AIR for breaking news throughout the day. Published: March 31, 2014 Read full article here

Design at Play: A German Toymaker's Cheerful Survey
Tribeca design gallery R and Company has undergone a transformation. Overrun with German designer Renate Müller’s handcrafted, brightly colored, jute-and-leather wildlife (cheerful hippos, alligators, sea lions, and more), it looks more like a toy store than a space that sells midcentury furniture.   Müller, the subject of a self-titled retrospective on view through April 24, is a rarity. The scion of a toy-manufacturing family, she hails from Sonneberg, Germany, a town known more or less as the former capital of the nation’s toy factories. Now in her 70s, she makes all of her toys exactly as she did when she began in 1967: from the same gigantic spools of jute fabric she bought in the ’60s and entirely by hand. Her choice of materials initially shocked her professors at Sonneberg Technical College for Toy Design. “Toys are normally plush and soft,” she said, but she had opted instead to use jute, a rough material normally used to make sacks of flour and sugar. The robustness of her designs — the durability of the jute and the structural integrity of their inner wooden frames — made them ideal for hospitals for mentally and physically handicapped children. Their exaggerated stitching, leather accents, and rough surfaces offered tactile stimulation, and in the ’70s, when she began experimenting with hand-dying techniques in her washing machine, they offered color, too.  After decades of use in children’s hospitals from Germany to Japan, her work gradually became a collectible item following an exhibition at the Sonneburg Toy museum in the 1990s. “Before I met Renate, I would always find these little animals in shops throughout Germany,” R and Company co-founder Evan Snyderman told ARTINFO. “Shop owners would tell me I could buy anything but those; they were never for sale, even if they didn’t even have children.” The objects on view in the gallery include Müller’s classics, as well as new pieces produced over the last two years that double use as furniture: there are two-headed hippo/rhino benches are presented alongside matching two-tailed ottomans. To see highlights from “Renate Müller” at R and Company, click on the slideshow.   Design at Play: A German Toymaker's Cheerful SurveySelect Photo Gallery: Slideshow: Design at Play - A German Toymaker's Cheerful SurveyPublished: March 31, 2014 Read full article here

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