what can we say even watered down the designers work is a thesis on the arrival of post gender design as the norm in the 21st century …a stellar collection
Now Yall know i dont like the word Queer associated with being same sex loving but hey these kids nowdayz use it… lets show out and see what they gots Verge
There is only one thing that’s ever changed things in this system and its DEVOTION….show yours to the cause of elevating black business in America by Buying at least 50% black if you can check out I dont do club’s campaign…..until we receive reparations…which i am sure we will in this century for building this great nation ..and i am certain we will in the form of free education for the amount of generations that were forced to suffer oppression in our racist system …until then …we need to buy at least 50% black …and when we buy outside of our culture we should make demands as opposed to just giving the milk away to anybody …n’est pas???
real luxury is when no one else has what you have …is when you know time and craftsmanship went into making what you are wearing…when every off little thing distinguishes the item as unique..bespoke ..individual
WILLIAM KENTRIDGE IN CONVERSATION WITH ANDREW HOYEM AT THE METROPOLITAN MUSEUM OF ART
OCTOBER 13, 2015
Renowned South African artist William Kentridge returns to New York for the premiere of his new production of Alban Berg’s Lulu at the Metropolitan Opera. At the Museum, he joins master printer Andrew Hoyem to discuss the limited-edition letterpress volume of Lulu that the two are creating for Hoyem’s Arion Press of San Francisco. The multitalented artist and the master printer discuss how design and imagery aid human imagination, whether by enhancing words on a page or orchestral sound in a theater.
For further information, please visit the The Metropolitan Museum of Art website
Dan Flavin Corners, Barriers and Corridors
September 10 – October 24, 2015
Dan Flavin Corners, Barriers and Corridors
September 10 – October 24, 2015
Opening reception: Thursday, September 10, 6 – 8 PM
Press preview with Senior Partner Kristine Bell: Wednesday, September 9, 10 AM
Above: untitled (to a man, George McGovern) 2, 1972. Warm white fluorescent light, 10 ft. (305 cm) high, 10 ft. (305 cm) wide. CL no. 303. © 2015 Stephen Flavin/Artists Rights Society (ARS), New York
a lot is left un-examined in The Black Panthers:Vangaurd of the Revolution…only the surface of the Panther mythology is illuminated from its meteoiric rise to its seemingly inevitable demise….its really a documentary for those who have never heard of Huey and Edger and J Edger Hoover….however its a useful summary of a great piece of American ourstory
Yoan Capote uses sculpture, painting, installation, photography, and video to create analogies between the visual poetry of inanimate objects and the intangible world of the mind. He merges incongruous items, such as human organs and mundane objects, to plumb ideas of humanity. His work deals with the intimate and the personal, while investigating constructions that are based in power and difference. In a 2010 ARTINFO interview with Scott Indrisek, Capote said “Over-representation is not an issue for me; it’s actually a characteristic of pop culture that I’m intrigued by. In my case, I consider my use of iconic images a sort of Neuro-Pop, because my approach to the images is conceptual first and foremost. The common thread in all my work is that it is weighted in the condition of the human psyche.”
In Art in America 2006, Eleanor Heartney wrote of Capote’s work, “He creates paradoxical images with political and psychological overtones. In sculptures and beautifully crafted academic drawings, he rearranges the human body and reinvents the purposes of everyday things… Capote’s work is both thought provoking and humorous. He brings to mind the absurdist impossibilities of Rene Magritte, overlaid with a sense of nostalgia for physical experience in an increasingly digital world.”
Capote was born in Havana, Cuba in 1977, where he lives and works. The unique experience of being Cuban, influences his work, which often deals with themes of migration or government that reference Cuban identity yet is universally accessible. He studied at the Provincial School of Art in Pinar del Rio, Cuba (1988–1991), the National School of Art in Havana (1991–1995), and the Higher Institute of Art in Havana (1996–2001).
Capote has exhibited extensively, including in Portugal, Spain, Switzerland, France, England, Panama, Cuba and the United States. Capote represented Cuba at the (2011) Venice Biennale along with three other artists in Cuba Mon Amour. He installed his thirty-foot tall monumental sculpture Stress in both the (2012) 11th Havana Biennial and in Portugal Arte 10 EDP in Lisbon in (2010). A group of outdoor sculptures was exhibited recently at LongHouse Reserve in Easthampton, New York.
Capote’s work is included in many public collections including 21c Museum Hotel, Louisville, Kentucky, the Kadist Art Foundation, Paris and San Francisco, the Pizzuti Collection, Columbus, Ohio and Daros Latin America, Zurich, Switzerland. He has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Foundation (2006), a UNESCO Prize (2000), a Pollock-Krasner Foundation Grant (2006), a Vermont Studio Center Fellowship (2002) and a residency at the Brownstone Foundation in Paris (2003).
Jack Shainman Gallery has represented Capote since 2010. Solo exhibitions at the gallery include Mental States (2010), and the upcoming Collective Unconscious opening May 28 – July 10, 2015.
Tina Barney was born in New York City in 1945. She currently lives and works in New York City and Westerly, Rhode Island.
The artist’s photography career began in the mid 1970s while living in Sun Valley, Idaho. Barney began photographing in color with a large format view camera just before returning to New York in 1983. Her iconic tableauxs portraying the daily life of the social elite are in the permanent collections of numerous institutions including the the Museum of Modern Art, the Whitney Museum of American Art, Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston, among many others. Barney’s works were included in the 1987 Whitney Biennial, and recent solo exhibitions include The Europeans at the Frist Center in Nashville, TN and The Europeans at the Barbican Art Gallery, London, UK, which traveled to the Museum of Art, Salzburg, Austria.
artist Chao Lu/rosenfeld porcini.com
29 April – 5 July 2015
South Galleries and 9 x 9 x 9, Bermondsey
White Cube is pleased to present an exhibition of new work by Theaster Gates. Gates’ practice is wide-ranging and polysemous, attempting to bridge the gap between art and life and catalyse social and economic change through direct artistic agency. For this exhibition, entitled ‘Freedom of Assembly’, Gates explores the theme of assembly in its widest sense, enmeshing ideas of an autonomous art object with notions of individual freedom and the empowerment of place. In particular, Gates refers to the First Amendment of the United States Constitution, which protects freedom of speech, the right to peaceably assemble, and the free exercise of religion.
‘Freedom of Assembly’ includes several new series of sculptures, a large-scale presentation of tar paintings and a body of work that foregrounds, for the first time, Gates’ long-term involvement with clay production. Notions of assembly become evident in works that draw on personal memory, politics, and the history and resonance of material objects within our culture.
These themes are syncopated in works that transform materials culled from disused buildings in the artist’s own neighbourhood in the South Side of Chicago. A series of wooden vitrines combine various elements obtained from a closed-down hardware store – a cornerstone of the community that ceased trading in the face of conglomerate competition – alongside lamps, pots, glass and sculptural objects. These colourful visual assemblages attempt to transmute the presence of a place and site now disbanded, while exuding a sense of loss and reduction. In Ground Rules (2015), Gates invokes the narrative of art through his interrogation of painting, and, in particular, the history of modernist abstraction. These works transform strips of a wooden gym-floor into delicate, minimal compositions. Like his earlier ‘Civil Rights Tapestries’ which repurposed old fire hose into pastel-hued fabric works, these sculptures reignite the significance and poetry of found materials through a process of reassembly and re-composition.
Personal and political themes are explored in a new series of large-scale tar paintings, where rubber and tar is applied to wood panels creating monochrome, textural compositions. In these works, Gates makes his decisions based on the procedure of roofing, not painting, a process the artist describes as: ‘borrowing good roofing strategies, through formal engagement with it, to arrive at painting or at least to get to the essence of roofing’. With their thick impasto and shiny reflective surface, the tar creates a surface that visibly reflects the movement of the hand across the canvas, linking these works to Japanese calligraphy as well as to a history of gestural abstraction. In other works, sections of flat roofing are displayed like shaped two-dimensional canvases, covered with delicate wooden feather-like tiles. Conceived as an index of roofs – rather than as individual paintings – these works suggest a collective presence and relate strongly to Gates’, whose father tarred roofs for a trade.
Gates furthers these ideas in a collection of clay works that include a group of small figures, stacks of ceramic bricks, and pots that combine clay with tar and other materials from the roofing canon. In these poetic sculptures, Gates’ history with clay is married to his history with labour to create an inspired new body of work.
Alongside his presentation at White Cube Bermondsey, Theaster Gates will exhibit a new body of work in the Arsenale at the 56th Venice Biennale from 9 May – 22 November 2015.
The Hidden Legacy of Nazi Film
Wednesday, May 13 – Tuesday, May 19
WRITTEN AND DIRECTED BY FELIX MOELLER
From filmmaker/film historian Felix Moeller (director of HARLAN – IN THE SHADOW OF THE JEW SÜSS) comes this thoughtful, provocative analysis of the 40 Nazi-produced movies still banned from broadcast or public screening in Germany (except in a scholarly context) because they are considered too inflammatory or offensive. The Third Reich’s anti-Semitic films are well-known (among them THE ETERNAL JEW, THE ROTHSCHILDS, JEW SÜSS), but less famed are their anti-British and anti-Polish dramas, featuring heroic young Germans, mercilessly bullied by greedy, deranged foreigners. Nearly 70 years after the demise of the Nazis, do Joseph Goebbels’s notorious propaganda movies still pose a threat to civil society? See this galvanizing documentary and judge for yourself. .
All Tickets Free of Charge.
Presented with generous support from the Ostrovsky Family Foundation
and the Joan S. Constantiner Fund for Jewish and Holocaust Films.
GERMANY • 2014 • 94 MINS. • IN GERMAN WITH ENGLISH SUBTITLES • ZEITGEIST FILMS
“FASCINATING. MUST-SEE VIEWING for cinephiles of all persuasions.”
– Ronnie Scheib, Variety
“COMPELLING. FASCINATING viewing for both film and history buffs.”
– Frank Scheck, The Hollywood Reporter
He is a modern visual poet . Revealing our obvious lost of a certain romanticism just through his use of a basically unromantic medium(that being photography) and his fluid embrace and use of thoroughly early- modernist points of departure…his frame is often reminiscent of the early Constructivist…Rodchenko in particular and seems equally informed by post seventies photo-journalism as it is by Post-modern Contemporaries like Nan Golden for example ..and yet the feeling I get from Mr .Tilman’s work is one of looking at a Monet or a Manet …he views the everyday in a very Romantic ,eloquent and yet banal way .What’s more a Tilman show is always a delight because the artist uses the gallery space like Brodovitch would have used a page in Vogue …The space becomes integral to the Narrative ..lets hope he does the same at The Met–oi
In 1941, Jacob Lawrence, then just 23 years old, completed a series of 60 small tempera paintings with text captions about the Great Migration, the multi-decade mass movement of African Americans from the rural South to the urban North that started around 1915. Within months of its making, the series entered the collections of The Museum of Modern Art and the Phillips Memorial Gallery (today The Phillips Collection), with each institution acquiring half of the panels. Lawrence’s work is now an icon in both collections, a landmark in the history of modern art, and a key example of the way that history painting was radically reimagined in the modern era. One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North reunites all 60 panels for the first time at MoMA in 20 years.
Along with Lawrence’s series, the exhibition includes other accounts of the Migration from the era, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; music by Josh White, Duke Ellington, and Billie Holiday; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White. The range of works in the exhibition sheds light on the ways in which Lawrence drew upon and transformed contemporary models for representing the Afro- American experience.
The exhibition is accompanied by a book, Jacob Lawrence: The Migration Series, copublished with The Phillips Collection, Washington D.C. With the opening of the exhibition, MoMA has created a rich multimedia website that explores each of Lawrence’s Migration panels, accompanied by a range of visual, auditory, literary, and documentary materials. The exhibition is also accompanied by a film series in MoMA’s theaters in June. Download a brochure of related programming. (Adobe Acrobat Reader required)
Adamson Gallery is proud to present an exhibit of photography by Gordon Parks, one of the twentieth century’s foremost documentarians of American life. This exhibition features a selection of images from Segregation Story, Parks’s powerful 1956 photographic series, which documented an extended African American family in segregated Alabama. Originally commissioned for a September 1956 issue of Life Magazine, this series is an intimate portrayal of one family’s perseverance through racial and economic subjugation in the Jim Crow South.
This exhibition will be on view from Aprill 11th through June 27th, 2015.
In anthropology, an acephalous society (from the Greek ἀκέφαλος “headless”) is a society which lacks political leaders or hierarchies. Such groups are also known as egalitarian or non-stratified societies. Typically these societies are small-scale, organized into bands or tribes that make decisions through consensus decision making rather than appointing permanent chiefs or kings. Most foraging or hunter-gatherer societies are acephalous.
In scientific literature covering native African societies and the effect of European colonialism on them the term is often used to describe groups of people living in a settlement with “no government in the sense of a group able to exercise effecitve control over both the people and their territory”. In this respect the term is also often used as synonymous to “stateless Society”. Such societies are described as consensus-democratic in opposition to the majority-democratic systems of the West.
The Igbo Nation in West Africa is alleged to be an acephalous or egalitarian society.
Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing chronicles the foundation and evolution of Hancock’s prolific career. The exhibition is the first in-depth examination of the artist’s extensive body of drawings, collages and works on paper. For over two decades, Hancock has immersed himself in drawing, testing the elasticity of the medium with a keen sense of humor. Hancock was born in 1974 in Oklahoma City, Oklahoma. He lives and works in Houston, Texas. In 2007, Hancock was the recipient of The Studio Museum in Harlem’s Joyce Alexander Wein Artist Prize. Organized by the Contemporary Arts Museum Houston (CAMH), Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is curated by Valerie Cassel Oliver, Senior Curator. The Studio Museum’s presentation is organized by Lauren Haynes, Associate Curator, Permanent Collection.
Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is supported by a generous grant from the National Endowment for the Arts and other supporters of CAMH.
more of the master https://youtu.be/wCA5NmbwpD8
Miami:Feb26th -May 31st Victoria Gitmans “Design Eye ” exhibition of obsessive little oil’s that look like commercial jewelry ads or Ingres drawings…raises a few questions about our modern romance with things at The Perez
New York:Picasso’s curtain for Le Ballet Russe ‘s ‘The Ballet found its new home at the New York Historical Society from May 22nd on
Pablo Picasso painted the stage curtain for the two-act ballet The Three-Cornered Hat (“El sombrero de tres picos” or “Le tricorne”). The ballet and curtain were commissioned by the impresario Sergei Diaghilev for his avant-garde, Paris-based Ballets Russes, the most influential ballet company of the twentieth-century. The ballet was choreographed by Léonide Massine with music by the Spanish composer Manuel de Falla. It premiered on July 22, 1919, at the Alhambra Theatre in London with sets, costume designs, and the monumental stage curtain created by Picasso. Picasso biographer John Richardson once called “Le Tricorne” the artist’s “supreme theatrical achievement.” The production, which was conceived by Diaghilev and Massine during a trip to Spain, was enhanced by its many Spanish collaborators, including Picasso who also designed the costumes and set for the ballet.
Measuring roughly 20 feet square, the curtain depicts a scene with a bullring and celebratory spectators. Picasso painted it as an illusionistic window in a larger curtain that functioned as a backdrop setting the scene for the ballet. At some point before 1956 Diaghilev cut it from its larger context. For more than half a century the curtain, believed to be the largest Picasso painting in the world, has hung in the hallway of the Four Seasons Restaurant, in the landmarked Seagram Building, designed by Ludwig Mies van der Rohe, on Park Avenue and Fifty-second Street in New York City. Vivendi, the company that once owned the Seagram Building, gave the Picasso curtain to the New York Landmarks Conservancy in 2005 as a “Gift to the City.”
The show will position Picasso’s curtain in a dialogue with other N-YHS objects, including paintings from the European tradition that provide background to the artist‘s work as well as to the traditions against which the revolutionary artist rebelled. Other thematic threads pivot around dance subjects and explore roughly contemporary American paintings, sculpture, posters, and watercolors. Among the works included will be examples by William Adolphe Bouguereau, Will H. Bradley, Philippe de Champaigne, Jean-Léon Gérôme, Childe Hassam, Malvina Hoffman, Ricardo de Madrazo y Garreta, Elie Nadelman, Edward Penfield, Maurice Prendergast, John Sloan, and Adriaen van Utrecht.