Archive for the ‘New York Art Scene’ Category
Cats are finally getting their day at an exhibit that opens on June 13th at White Columns in New York City. I have to admit that when I first got the email about this show, I quickly deleted it. I love cats, but I thought it was some kind of contemporary art world statement/joke. Luckily they sent it again and I read it. It’s a real show. And I’m delighted.
It will help a good cause, too, the Social Tees Animal Rescue, a 501c3 non-profit that, every year, takes over 3000 at risk animals from kill shelters, gives them veterinary care and finds them loving homes.
Cats should be the subject of an art exhibit because cats are great. Most creative people have cats, especially writers. Just think of Ernest Hemingway. I visited his house in the Keys just to see the descendents of his famous six-toed cats. And they were everywhere. I really could’ve cared less about the house. Or Hemingway.
We creatives aren’t as drawn to dogs, not that they’re not also great. But dogs are so, well, doggy and messy and excitable and irksome when you’re trying to sleep. Cats are cool, confident and discerning. And contrary to what many people say, cats are not aloof if they own the right person. If their person is genuine, cats are affectionate, loyal and will come when called. Honestly, cat people just don’t get the “My Cat From Hell” show.
Apparently a lot of famous artists agree because the White Columns show, curated by writer and artist Rhonda Lieberman, features work from: Michele Abeles, Rita Ackermann, Antonio Adams, Bill Adams, Laura Aldridge, Graham Anderson, Araki, Cory Arcangel, Atelier E.B. (Lucy McKenzie, Beca Lipscombe, Marc Camille Chaimowicz), Michel Auder, Lisa Anne Auerbach, Matthew Barney, Will Benedict, Olaf Breuning, Janet Burchill, Kathe Burkhart, Carter, Antoine Catala, Cole, David Colman, Cynthia Daignault, Lucky DeBellevue, Jake Ewert, Bella Foster, Magdalena Frimkess, Jeff Funnell, Rainer Ganahl, Paul Georges, Eric Ginsburg, Karin Gulbran, Tamar Halpern, June Hamper, Daniel Heidkamp, Robert Heinecken, John Hiltunen, Ann Cathrin November Hoibo, Jonathan Horowitz, Marc Hundley, Gary Indiana, Matt Keegan, Mike Kelley, Wayne Koestenbaum, Barbara Kruger, Ella Kruglyanskaya, Sadie Laska, Elad Lassry, Mark Leckey, Cary Leibowitz, Rhonda Lieberman, Cassandra MacLeod, Alissa McKendrick, Ryan McNamara, Siobhan Meow, Marilyn Minter, Dave Muller, Takeshi Murata, Eileen Neff, Laura Owens, Elizabeth Peyton, Richard Prince, Rob Pruitt, Eileen Quinlan, Jennifer Rochlin, Sam Roeck, Ruth Root, Kay Rosen, Jason Rosenberg, Theo Rosenblum and Chelsea Seltzer, Gus Van Sant, Joe Scanlon, Steven Shearer, David Shrigley, Patti Smith, Frances Stark, Amy Taubin, Nicola Tyson, Andy Warhol, Jordan Wolfson, B. Wurtz, Rob Wynne, and Freecell with Gia Wolff.
I’m curious to see what Matthew Barney submits. Somehow I envision a cat dressed as a satyr, if that’s even possible. And Rob Wynne, who has an amazing installation currently on view in the lobby of the Norton Museum of Art in West Palm Beach, Florida.
Cats will also be present during the White Columns exhibit through the “Cats-in-Residence-Program.” That’s right. You can meet Meowrina Abramovic, Bruce Meowman, Jeff Maine Coons, Claws Oldenburg, Alex Katz, Frida Kahlico and many others. (no joke. that’s what the press release said.) But this is New York and it’s an art gallery opening, so scratch what I said earlier because they actually might act aloof and disinterested while they nurse their Chardonnay, unless James Franco wanders in. The cats will be available for adoption.
I’m sensitive and I’m a writer, so of course I have a cat and he’s the love of my life. He’s a big, furry ball of orange fur and love and joy and therapy. Cat therapy is the best kind because it costs less than professional analysis and nothing boots your ego better than unconditional love. I must post a picture. He’s really not fat. It’s just the way he’s sitting. Here’s Yang….
The Cat Show opens at White Columns on June 13th with a reception from 6-8pm and will run until July 27th. The “Cats-in-Residence Program” will be on view on June 14/15 and July 19/20.
In time for the opening of The Armory Show, my next article for JetSet Magazine speaks to the emergence of an elite tier of fairs that are replacing NY galleries as the site for major sales of 20th and 21st century work, while galleries are evolving into museum-like venues for establishing an artist’s prestige. The article includes interviews with Noah Horowitz, Linda Blumberg, Amanda Sharp and Jayne Drost Johnson of Armory, Frieze NY, ADAA’s The Art Show and the buzzworthy Independent fair, as well as Kathy Battista of Sotheby’s art institute and Adam Sheffer of Cheim Read.
I was thinking about this today. I miss the New York and Westchester County art scene. I miss going to stuffy gallery openings where mostly everyone wears black and beige and are craning their necks to see who is walking in the door. I miss my beautiful, quiet country church with its beautiful Chagall and Matisse windows. I miss the smell of bonfires and the golden glow on the Hudson River. South Florida is nothing like this.
Surely, I am getting old, but that’s OK. I’m glad I grew up as part of an art generation trained to analyze and dissect art in an intelligent and thoughtful manner. I’m glad I learned reverence for artists.
When I think back on my college days, I remember being mesmerized by Irving Sandler as he paced back in forth in front of a large screen showing work by Jackson Pollack or Alex Katz. (Here’s an interview with Sandler from 2008) He knew them both and when he spoke what came through was so much more than just his words – it was his enthusiasm, his respect and his own fascination with their work. He’d get so excited that this one piece of gray hair on top of his head would alternately flop up and down in the air.
Sandler’s teaching always reminded me of a story my stepfather had told me. He’d said that when Einstein taught he’d start writing on the blackboard and he’d get so excited that he’d keep writing on to the wall without hardly noticing. There aren’t any critics or writers like Irving Sandler in Miami, but if he himself were here it’s likely he’d be very encouraging of the young artists that live and work here. Perhaps if there were a Sandler here they wouldn’t be so quick to leave.
I don’t always understand the Miami art scene. I don’t understand why gallery openings here have to include DJs spinning annoying techno-pop, extra-curricular activities and belly dancers. Sometimes, with a few exceptions, it seems more like a zoo than an art scene. To me, it doesn’t often seem to be about the art or the artist.
Perhaps that’s why art hasn’t taken hold here the way it has in New York and L.A. in the sense that major collectors don’t come here to shop. We don’t have enough gallerists like Brook Dorsch or Frederic Snitzer. What Miami needs most is intelligence. Substance over style.
Sometimes, I honestly think: what the fuck am I doing here? You can take the New Yorker out of New York, but you can’t take New York out of the New Yorker.
***Please see the comment below from ArtNet and read the specifics of what happened to their organization at this link: http://artnt.cm/LEmKLF They contacted me with this updated information shortly after this post was published.**
Just read some sad news on Gallerist, the art news section of the New York Observer.
Apparently, Artnet, the online art market, database and journal has just suddenly ceased publication. I checked their Twitter account and — as of 30 minutes ago — they were still tweeting, so the news seems a bit odd. I mean, if they were tweeting less than an hour ago and now they’ve closed shop…..?
In the Gallerist article, Dan Duray explains that the news came after Hans Neuendorf, who has been the CEO for 17 years, announced his resignation. Duray informs us that German-based Arnet closed their magazine offices in Berlin, New York and Paris – today. The Gallerist post appeared at 2:19pm. Their last tweet was around the same time. However, as you probably know, there are tools now that can automate tweets in advance, so there’s no way of knowing if an actual person sent that tweet.
If this is true, it will be a shame to see them go. I remember when Artnet launched because it was around the same time I started my M.A. in Art History. With research being a large part of that degree, I loved the idea of an online database for art. I even interviewed with them once, but couldn’t come to an agreement on compensation, though I recall really wanting to work for them. They set a precedent for the art world in terms of online marketing and the dissemination of information about art. They were the first.
Duray’s article concludes with a quote from editor Walter Robinson, “One thing I could add is that Hans Neuendorf gave me a great opportunity 16 years ago when he hired me to help launch the magazine.”
I checked again as I’m finishing this post and there’s still nothing on the Artnet site or Twitter page that would indicate they’ve closed shop. I tweeted their @Artnet account, “Say it isn’t so?” but no response came. Duray’s last post about Artnet on Gallerist, dated March 23rd, indicated they were moving to the Woolworth Building, but didn’t mention any plans to close.
I really think this will be a loss. I hope, somehow, it’s not accurate. Stay tuned….
Edward Munch’s iconic work, “The Scream” — you know the one that’s used everywhere from mental health clinic advertising to fast-food restaurants — will be on the auction block at Sotheby’s New York in May this year. There are only a few masterpieces in art that the average Joe on the street would recognize and “The Scream” ranks alongside “Mona Lisa” as the top two.
Four versions exist of “The Scream.” This is the only one that remains in private hands and is being sent to auction by Norwegian businessman Petter Olsen. His father Thomas was a friend, neighbour and patron of Edward Munch.
Munch created “The Scream” in the mid-1890s and the work epitomizes the Expressionist movement with its sweeping, gestural brushstrokes. This version of the work was executed by Munch using pastels.
There is sure to be heavy press concerning this sale. It will certainly be interesting to see at what price the gavel falls and who ends up owning this iconic work.
There are about 40 days left to catch the Anselm Kiefer show at Gagosian in NYC. Kiefer is one of the most significant artists of our lifetime. His work is monumental. His thought process unparalleled. His work a complex blend of allegory, abstraction and emotion. If forced to pick just one (and I hope I never am), I’d have to rate him as my all-time favorite artist. Throughout my life, his work has affected my interpretation of the world around me. This is Kiefer’s first NYC show since 2002.
This is what Gagosian has posted on their website:
Born in 1945 in Donauschingen, Germany, at the close of World War II, Anselm Kiefer studied art informally under Joseph Beuys at the Düsseldorf Academy in the early 1970s.
Kiefer reflects upon and critiques the myths and chauvinism which eventually propelled the German Third Reich to power. His paintings depict his generation’s ambivalence toward the grandiose impulse of German nationalism and its impact on history. Kiefer’s work consistently balances the dual purposes of visually powerful imagery and intellectually critical analysis. Curator and art historian Mark Rosenthal has written of Germany’s Spiritual Heroes, a painting where historical meaning is superimposed upon a setting of personal significance, Kiefer’s former studio in a rural schoolhouse:
“The most monumental work of 1973, and the last of [an] important series, is Germany’s Spiritual Heroes. On six strips of burlap sewn together, Kiefer drew perspective lines to form a deep theatrical space. The viewer is placed at the entrance of the cavernous room, slightly off center, engulfed by the wooden beams…The interior is at once a memorial hall and crematorium. Eternal fires burn along the wall as if in memory of the individuals, but the lower edge of the painting is darkened in a manner that suggests it has been singed. This highly flammable wooden room is in danger of burning, and with it Germany and its heroes will be destroyed…Kiefer’s attitude about a Germany whose spiritual heroes are in fact transitory and whose deeply felt ideals are vulnerable is not only ambivalent but also sharply biting and ironical…these great figures and their achievements are reduced to just names, recorded not in a marble edifice but in the attic of a rural schoolhouse.”
Ten works by Kiefer are included among the Broads’ collections.
Above: Deutschlands Geisteshelden (Germany’s Spiritual Heroes), 1973, Oil and charcoal on burlap, mounted on canvas, 120 7/8 x 268 1/2 in. (307 x 682 cm)The Broad Art Foundation, Santa Monica, © 2009 Anselm Kiefer, Photo courtesy The Broad Art Foundation, photo by Douglas M. Parker Studio, Los Angeles