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Slideshow: Marlborough Chelsea's Broadway Morey Boogie
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : Marlborough Chelsea's Broadway Morey Boogie Read full article here

"The Open Road" Aperture Foundation Benefit Auction Preview at Phillips - September 23, 2014
Language English Featured: 0Order: 0Tags: PartiesAuthor(s): Benjamin ParkSub-Channels: AuctionsShort Title : "The Open Road" Preview at the Aperture Foundation Read full article here

Van Gogh Musical in the Works, John Kerry Speaks at the Met, and More
Van Gogh Musical in the Works, John Kerry Speaks at the Met, and More— Van Gogh Musical in the Works: It was only a matter of time before the legendary life of Van Gogh was set to music. Slated to debut in Amsterdam next fall during festivities around the 125th anniversary of Van Gogh’s death,  “Vincent” will “bring Vincent van Gogh’s works to life in a non-traditional way,” said Martine Willekens, spokeswoman for the Van Gogh Europe Foundation. [Telegraph] — John Kerry Speaks at the Met: In a Monday night speech at the Met, Secretary of State John Kerry spoke out against the destruction of cultural heritage in Syria and Iraq. He called the spread of ISIL forces “one of the most tragic and one of the most outrageous assaults on our shared heritage that perhaps any of us have seen in a lifetime. Ancient treasures in Iraq and in Syria have now become the casualties of continuing warfare and looting. And no one group has done more to put our shared cultural heritage in the gun sights than ISIL.” [TAN] — Whitney Gets American Photos: Sondra Gilman Gonzalez-Falla and Celso Gonzalez-Falla have promised 75 photographs from their collection to the Whitney Museum. All the usual suspects are there: Walker Evans, Alfred Stieglitz, Robert Frank, Diane Arbus, William Eggleston, and Imogen Cunningham. “This promised gift from the greatest benefactors of the Whitney Museum’s photography program has a transformative effect on the museum’s collection,’’ said Whitney director Adam D. Weinberg. “The works are classics of 20th-century photography that enable us to tell the story of 20th-century American art.’’ [NYT] — Altamira Caves Stay Open Until 2015: Officials have decided to continue to allow a select number of visitors (five per week!) into Spain’s Altamira Caves after the impact was found to be “virtually imperceptible.” [TAN] — Jeffrey Deitch Talks Looking For a New York Space: “I’m looking for a space of 40,000 square feet plus. And so there’ve been a few things that were almost there, but didn’t quite work out. So I’m very patient.” [ARTnews] — Buy a Johns Flag at Sotheby’s: A 1983 “Flag” work by Jasper Johns is expected to sell for $15 million to $20 million this November. [NY Observer] — We’ve really been enjoying Andrew Russeth’s weekly Art of the City feature; the latest one covers nine Chicago shows. [ARTnews] — Fordham’s new Pei Cobb Freed & Partners-designed building has opened at Lincoln Center. [NYT] — Shane Campbell Gallery in Chicago will move to a bigger space next year. [ARTnews] ALSO ON ARTINFO Serralves Museum Retools to Face a Globalized World 24 Questions for Sculptor Alyson Shotz John Malkovich Stars in Iconic Historical Photos Diya Vij Heads to NYC Department of Cultural Affairs Check our blog IN THE AIR for breaking news throughout the day. Published: September 24, 2014 Read full article here

24 Questions for Sculptor Alyson Shotz
Name: Alyson ShotzOccupation: ArtistCity/Neighborhood: Brooklyn  This October you have a show at the Wellin Museum in upstate New York, for which you will create site-specific installations in response to light in that space. What is the defining quality of the Wellin’s light? What kinds of works did it provoke?  I’m making a few site-specific works for the Wellin Museum show. One is an expandable sculpture shaped by gravity and the material properties of the piece itself. It’s made of stainless steel wire and glass beads, and the scale is about 18 feet high by 16 feet in diameter. This sculpture in particular will reflect the sunlight as it passes through the space and it will seem to materialize and dematerialize depending on the way the light hits it at any particular moment. Also, I just finished installing a 49-foot wall drawing there, which will also react to the light. The drawing, made with linen thread and pins on the wall, is something between a two-dimensional and three-dimensional entity.  The thread creates a kind of surface plane, raised two inches off the wall, and this plane casts shadows on the wall behind. The shadows and the density of the thread create an illusion of three-dimensionality that shifts as one walks along it. In addition there will be an etched vinyl piece (also site specific) going into Archive Hall, which will also react and change with light and one’s position in relationship to it. You also have two gallery shows this fall at Derek Eller and Carolina Nitsch. How does your process change when you are making work for a gallery? Is it on a smaller scale? I try always to scale and shape the work to the space. At Derek’s I’ll be showing work in two locations, which is a very special occurrence. In the main space will be a series of linen drawings on panel and bronze sculptures that both deal with the idea of progression through time. In the second space I’m installing a 20-foot long floating glass bead sculpture, “Invariant Interval #4.” For the past few years I’ve been trying to gain a better understanding of time. Without time, there is no space and vice versa, so the two are intimately linked, as Einstein described many years ago. As a sculptor, space is a primary subject for me, but I’ve just begun to think about time and its relationship to space. I see these works in the Eller show as ephemeral moments contained within a specific event, rendered in the very slow materials of thread, glass, and bronze. Do you consider your work to be in dialogue with Light and Space or other artists who work with light?  I hope it’s a continuation of the conversation. What project are you working on now? I’m still trying to finish work for the upcoming shows opening in October. I’ve been doing some work in porcelain, which is an incredibly persnickety material, and if they work out, they should be done just in time. What’s the last show that you saw? Christopher Williams at MoMA. What’s the last show that surprised you? “The Photographic Object, 1970” at Hauser and Wirth uptown. Incredible dense photographic objects made by many artists who I regret to say, I’d not heard of until this show, like Carl Cheng who made some bubbly molded plastic photo things which I really loved. Describe a typical day in your life as an artist. Get up too early, walk the dog, drink a lot of coffee, check email, bike to studio, work, bike home, walk the dog, check email, eat dinner, maybe watch a show, read, sleep. Do you make a living off your art? Yes. What’s the most indispensable item in your studio? Maybe the studio itself. Where are you finding ideas for your work these days? Mostly from reading: a combination of science, fiction, and some science fiction. I’m also in the midst of a research residency at Stanford University, and I’ve had some really interesting conversations with a few people, which I think will lead to some new work. Do you collect anything? Not really… maybe interesting natural stuff you find on the beach or in the woods. What’s the last artwork you purchased? I’ve not yet had the opportunity to buy art. What’s the first artwork you ever sold? A drawing on brown paper with Sumi ink and gouache, I think. What’s the weirdest thing you ever saw happen in a museum or gallery? Everyone looking at their phones, standing in front of some really amazing work. What’s your art-world pet peeve? It feels like an intellectual loss that the people running galleries are not as accessible as they were in the ’90s when I first moved to New York. I have some very good memories of inspiring spontaneous conversations that broke out between dealers, artists, and curators who all happened to be in a gallery at the same time. The art world was definitely more casual at that time and ideas seems to be afloat in the streets. Or maybe I was just young and idealistic? What’s your favorite post-gallery watering hole or restaurant? I don’t go out that much, so usually home. Do you have a gallery/museum-going routine? I used to go once a month to see what’s around, but lately it can be a few months in between visits, because of my travel schedule. Walking around to look at art is still one of my favorite things to do. What’s the last great book you read? “The Round House” by Louise Erdrich; anything by Alice Munro. What work of art do you wish you owned? A Sugimoto seascape. What would you do to get it? I’m not that acquisitive. What international art destination do you most want to visit? Japan, again. What under-appreciated artist, gallery, or work do you think people should know about?   I recently encountered “The House of the Future,” a piece by David Hammons permanently located on two vacant lots on the east side of Charleston, South Carolina. It was part of the exhibition “Places with a Past,” 1991, and it’s a “Skinny House” — 6-feet wide, two stories high — built with local contractor Albert Alston. I thought it was absolutely incredible. Who’s your favorite living artist? That’s a toss up between David Hammons, Rosemarie Trockel, and Lee Bontecou, and I’m sure I’m forgetting others. What are your hobbies? Walking the dog, being an avid bike commuter.  Not too much time for other hobbies at the moment. 24 Questions for Sculptor Alyson ShotzSelect Photo Gallery: Slideshow: 24 Questions for Alyson ShotzPublished: September 24, 2014 Read full article here

Cildo Meireles at Luisa Strina
Artist: Cildo Meireles Venue: Luisa Strina, São Paulo Exhibition Title: Pling Pling Date: August 21 – September 27, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of courtesy the artist and Galeria Luisa Strina. Photos by VA. Press Release: Galeria Luisa Strina is pleased […]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

Deprivation – The Rise of Eastern Culture / Another Dimension 2014 / Arsenal Gallery, Bialystok
Deprivation is the title of an exhibition staged by the Arsenal Gallery in Białystok (Poland) as part of the festival ... Read full article here

L’École de Van Cleef & Arpels
Language English Featured: 0Order: 0Author(s): Sonia Kolesnikov-JessopSub-Channels: Jewelry & WatchesShort Title : L’École de Van Cleef & Arpels Read full article here

Serralves Museum Retools to Face a Globalized World
“It feels a bit of a gamble,” said Suzanne Cotter of her vision for the Serralves Museum of Contemporary Art in Porto, Portugal, where she arrived from working on the Guggenheim Abu Dhabi project from New York just over a year and a half ago, succeeding outgoing director Joao Fernandes. As such, her program is just now beginning to bear fruit, but the harvest so far has been sweet, including critically lauded presentations of the Swiss-Brazilian artist Mira Schendel (the first in Portugal), a show demonstrating the symbiotic relationship between art and architecture, and “12 Contemporaries: Present States,” an exhibition of a dozen young Portuguese artists. Cotter has had the advantage of a canvas that is a work of art in its own right, a jewel of a museum lined in marble and granite completed in 1999 by Pritzker Prize-winner Alvaro Siza. The museum forms a part of the Serralves Foundation, established in the long wake of the country’s 1974 democratic revolution to incubate contemporary artistic production in Portugal. The museum itself has always had international ambitions, however, and attracts some 450,000 visitors annually to the city caught between the Atlantic and the Douro Valley. Artists, too, are coming at Cotter’s invitation; Theaster Gates recently completed a residency with his Black Monks of Mississippi musical troupe. The Monks’ soulful sounds wafted through the hallways of the coolly opulent Art Deco-era Serralves Villa as guests were welcomed last weekend to fete the foundation’s 25th anniversary and the museum’s 15th. The event marked the end of the summer-long show “Histories: Works from the Serralves Collection,” and Cotter sat down to speak to ARTINFO about her plans for the museum. What have you done so far that you’re most proud of, or that sets the tone for how you’d like to proceed in the future? I don’t like to talk about pride too much because I’m always a bit worried about that. But what I’m happy about is that my idea of the way the program can unfold and function is actually having some impact on our audiences locally, nationally, and internationally. I think the key strategic areas for me as far as an artistic vision are about highlighting the collection, making sure it’s visible. We have a big show on the collection on view now that also includes recent work, to try to give a new, fresh perspective of what the collection might be, offer some narratives that I think are interesting and relevant with respect to art in Portugal, but also broadly. Can you be a little more specific about some of those themes? Well, the large theme is narrative histories, but my sense is that when people think of contemporary art here and particularly in relation to Serralves, they think it’s about abstraction and conceptual art. That’s something that was part of the manifesto when this museum opened. We have a lot of work here that, although it may be conceptually driven to some degree, has stories to tell. And those stories may be fictional but most of them have some relationship to reality in some way. And then the other aspect is that we’ve begun to think, with the people at the museum and then with our publics, about how those narratives extend more globally. You know, Portugal has always been part of a broader conversation in the world. So how might we begin to reflect on that, or reflect that a bit more through the presentation of the collection? Who are some of the artists that you’ve recently acquired in this context? In the current presentation of works from the collection, we have new contributions by Amalia Pica, Liam Gillick, Haegue Yang, Charlotte Posenenske, Walid Raad, the Akram Zatari installation that we showed last year in Venice, and paintings by Tala Madani, Paulina Olowska, and Lucy McKenzie. We also have a major installation of work by Leonor Antunes, a Portuguese artist living between Lisbon and Berlin, paired with pieces by Danh Vo. It’s not that many works, but it does show the direction that we’re trying to go in. What I’m happy about is that people have been very responsive. So you don’t feel isolated by being in Porto, off the usual art circuit? Oh no. Especially after having the experience of living in New York, where you feel you are the center of one world, but you’re actually far away from other worlds. Here I feel I am back in the European conversation that I’ve been part of for more than 25 years. My community doesn’t feel so far away and Portugal is a pleasurable place to come. But the positive response has also come from the community here. It’s important that the artistic community here in Portugal feel that what’s happening at Serralves is meaningful for them. Symbolically it’s an incredibly important institution, because of its history, but it is also important in reality. When we announced the program late last year to the press here, one of the first questions was, “So there’s no big names?” I was kind of prepared for that, but it does send a kind of doubt into your mind. But the Mira Schendel show that we presented here with the Tate and the Pinakotheke Sao Paulo was an absolute revelation. People were writing me letters thanking me for putting the show on. This spring we did “12: Contemporaries: Present States,” a show of young Portuguese artists show that generated a lot of response. In terms of the art scene in Portugal, my impression is that people decry the lack of state support for the arts here, on account of the financial crisis, but the scene in Lisbon strikes me as a scrappy, DIY community that stuck by its members. I was thinking it could be the new “New York in the 1970s” moment. Would you agree? Could be! I was actually thinking of London in the early 1990s — before Tate Modern and Frieze, Charles Saatchi hadn’t begun collecting YBAs yet, and it was still a conservative government. Here the critical mass is smaller, simply because it’s a smaller population, but I think there are some really interesting artists here, very cosmopolitan, who move around a lot. There’s a lot of smart artists, and they’re collected and cared for here. I think what’s lacking — and this is where Serralves comes in — is a platform for them to be seen in relation to what’s going on elsewhere, because it’s a different kind of value system. It’s like, your mother thinks you’re the most beautiful person in the world, but what about your neighbor, or the man across the street? There’s no doubt that a healthy art market is a reflection of a healthy art scene and artistic community. My sense is that collectors are very loyal and supportive of artists here, but there are only so many venues. The others are more dependent on state support than we are. How has your work with Abu Dhabi impacted what you’re doing here? Many of the questions remain the same. My job before that one was chief curator of Modern Art Oxford, out of the metropolitan center. There are similar questions about constituency and the artistic community. Like what language do we speak and what language do they speak, and can we find a common vocabulary. And then there’s the question of context. If you’re a visitor who comes to Serralves, what do you want to see? You want to learn something, not see what you can see in any other capital city. In Abu Dhabi as well, we tried to generate a sense of ownership and relevance for people in that part of the world, but at the same time speak to a broader context. It’s exactly the equivalent here in Porto. What’s next? After a show of Iranian contemporary artist Monir Farmanfarmaian, which will travel to the Guggenheim in New York, next year in the autumn we’re organizing a major retrospective of the Portuguese artist Helena Almeida, who’s begun to garner an amount of interest institutionally. That exhibition will travel to Paris, Brussels, and Sao Paulo. We have a great history of collaborating with other curators and institutions, but this really represents a new moment in the history of the museum where we are initiating and sending out shows. Sometimes change is not only about just the things you can see; it’s about the dynamics of what comes in and what goes out. Serralves Museum Retools to Face a Globalized WorldSelect Photo Gallery: Slideshow: An Anniversary Weekend at the Serralves Foundation Published: September 23, 2014 Read full article here

BRIC Rotunda Gallery
Language Undefined Location Website: Email: contemporaryart@bricartsmedia.orgDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: Brooklyn HeightsMonday - 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: (718) 875-4047Saturday - 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: Tuesday Saturday, 12 6PMlocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

New York
Language Undefined Location Website: http://www.bowerygallery.orgFacebook Website: Email: info@bowerygallery.orgDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: ChelseaMonday - 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+ 646 230 6655 Saturday - 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: Open Tue-Sat 11am-6pmArtists: Giorgio CavallonLeland BellMartin PuryearAlbert OehlenDamien HirstRachel WhitereadJean Baptiste Camille CorotDale ChihulyLucien SamahaVico FabbrisDavid Marshalllocation fax: f +1 646 230 6655Guide Landing page: Region on the Guide Landing page: None Read full article here

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