nyartstudies

hyperallergic:

From Tuesday’s Dread Scott performance. You can read our article about the work online.
creative-cap:


"A master of symbolic action and decoding the optics of oppression, [Dread] Scott, in his new work, evoked the well-known images of 1950s and ’60s civil rights protests being interrupted by the violence of police water cannons. The mood of his Dumbo performance was stark and slightly somber, and it had the visual clarity of a Hollywood Western gunfight."
Continue reading →

An excerpt from a video of Dread Scott's recent performance “On the Impossibility of Freedom in a Country Founded on Slavery and Genocide.” Read the rest of hyper allergic​’s review of the performance.

hyperallergic:

From Tuesday’s Dread Scott performance. You can read our article about the work online.

creative-cap:

"A master of symbolic action and decoding the optics of oppression, [Dread] Scott, in his new work, evoked the well-known images of 1950s and ’60s civil rights protests being interrupted by the violence of police water cannons. The mood of his Dumbo performance was stark and slightly somber, and it had the visual clarity of a Hollywood Western gunfight."

Continue reading →

An excerpt from a video of Dread Scott's recent performance “On the Impossibility of Freedom in a Country Founded on Slavery and Genocide.” Read the rest of hyper allergic​’s review of the performance.

Source creative-cap

Reblogged from Creative Capital

blouinartinfo:

18 Must-See Gallery Shows in New York This September

Nick Cave at Jack Shainman Gallery (513 West 20th Street and 524 West 24th Street)

September 4-October 11

Justine Kurland at Mitchell-Innes & Nash (534 West 26th Street and 1018 Madison Avenue)

September 4-October 11

Johannes VanDerBeek at Zach Feuer Gallery (548 West 22nd Street)

September 4-October 4

Despina Stokou at Derek Eller Gallery (615 West 27th Street)

September 5-October 4

Adam Helms at Boesky East (20 Clinton Street)

September 7-October 5

Strauss Bourque-LaFrance at Rachel Uffner (170 Suffolk Street)

September 7-October 19

Darja Bajagic at Room East (41 Orchard Street)

September 7-October 5

Ian Tweedy at UNTITLED (30 Orchard Street)

September 7-October 19

“Satan Ceramics” at Salon 94 Freemans (1 Freeman Alley)

September 7-October 25

Derrick Adams at Tilton Gallery (8 East 76th Street)

September 10-October 18

Stephen Shore at 303 Gallery (507 West 24th Street)

September 11-November 1

Jim Shaw at Metro Pictures (519 West 24th Street)

September 12-October 25

“Broadway Morey Boogie,” on the Broadway Mall (Columbus Circle to West 166th Street)

Opening September 17

“Fire!” at Venus Over Manhattan (980 Madison Avenue, 3rd Floor)

September 18-November 1

“Cast From Life” at Skarstedt (20 East 79th Street)

September 18-October 25

Orly Genger and James Siena at Sargent’s Daughters (179 East Broadway)

September 19-October 19

“Thread Lines” at the Drawing Center (35 Wooster Street)

September 19-December 14

Andy Coolquitt at Lisa Cooley (107 Norfolk Street)

Opens September 7

Reblogged from BLOUIN ARTINFO

blouinartinfo:

Wise Buys: 50 Women Artists Worth Watching

Chantal Akerman | B.1950  | Belgium

Etel Adnan | b. 1925  | Lebanon

Kathryn Andrews | b. 1973  | United States

Lee Bontecou  | b. 1931  | United States

Sophie Calle  | b. 1953 | France

Elizabeth Catlett | 1915–2012  | United States

Lygia Clark | 1920–1988  | Brazil

Mary Corse  | b. 1945  |  United States

Gertrud Goldschmidt (“Gego”)  | 1912–1994  | Venezuela

Camille Henrot | b. 1978 | France

READ MORE….

Click here to see ARTINFO’s video that offers a behind-the-scenes look at Art+Auction’s Wise Buys list.

Primary tabsWise Buys: 50 Women Artists Worth Watching

Reblogged from BLOUIN ARTINFO

hyperallergic:

(via Artist Claims New York Times Co. Isn’t Giving Him Credit He Deserves)
Released to the public two weeks ago, the New York Times‘s Chronicle graphing tool has been at use within the paper since it was developed in 2012 by its “Labs” research-and-development department. But the first such program graphing the use of language in the Times archive was developed in 2008 by the California-based artist Tim Schwartz, Hyperallergic has learned.
READ MORE

hyperallergic:

(via Artist Claims New York Times Co. Isn’t Giving Him Credit He Deserves)

Released to the public two weeks ago, the New York Times‘s Chronicle graphing tool has been at use within the paper since it was developed in 2012 by its “Labs” research-and-development department. But the first such program graphing the use of language in the Times archive was developed in 2008 by the California-based artist Tim Schwartz, Hyperallergic has learned.

READ MORE

Reblogged from Hyperallergic LABS

blakegopnik:

THE DAILY PIC: This is a view into a manic installation called “paintingassupermodel”, by Franklin Evans. It’s now filling the Ameringer McEnery Yohe gallery in New York. The title is a clever updating of “Painting as Model”, the name of a famous 1993 book by art historian Yve-Alain Bois, but sped up to the pace of the 21st century. There’s not even time for a break between words. 
Evan’s installation does a pretty good job conjuring the feel of art as it is now experienced, as a ceaseless barrage of image and information and commerce that we’re supposed to take as-is, without too much processing or doubt. “Paintingassupermodel” levels the playing field between Matisse and Photoshop. What I couldn’t decide, as I took in the piece, was whether its frantic complexities acted as an invitation to dig deep to figure them out, or to skim along across their surfaces. 
The Daily Pic also appears at blogs.artinfo.com/the-daily-pic. For a full inventory of past Daily Pics visit blakegopnik.com/archive.

blakegopnik:

THE DAILY PIC: This is a view into a manic installation called “paintingassupermodel”, by Franklin Evans. It’s now filling the Ameringer McEnery Yohe gallery in New York. The title is a clever updating of “Painting as Model”, the name of a famous 1993 book by art historian Yve-Alain Bois, but sped up to the pace of the 21st century. There’s not even time for a break between words.

Evan’s installation does a pretty good job conjuring the feel of art as it is now experienced, as a ceaseless barrage of image and information and commerce that we’re supposed to take as-is, without too much processing or doubt. “Paintingassupermodel” levels the playing field between Matisse and Photoshop. What I couldn’t decide, as I took in the piece, was whether its frantic complexities acted as an invitation to dig deep to figure them out, or to skim along across their surfaces.

The Daily Pic also appears at blogs.artinfo.com/the-daily-pic. For a full inventory of past Daily Pics visit blakegopnik.com/archive.

Reblogged from BLAKE GOPNIK on art

archdaily:

World Cup coverage has brought Brazil to the forefront of the public’s attention. While the country’s hasty construction of 12 massive stadiums has received criticism, this article from Christopher Hawthorne at the LA Times reveals that Brazil is, now more than ever, a hotbed of architectural progress. In light of this, we’ve compiled some of our favorite works from this year’s World Cup host country, including: Tacoa ArquitetosAdriana Varejão GalleryJPGN House by Macedo, Gomes & Sobreira, a welcome center by Rocco, Vidal + arquitetos, and Um House by Terra e Tuma Arquitetos Associados.  Also included is the 360° Building by Isay WeinfeldGaleria House by MACh Arquitetos,Ipes House by Studio MK27 – Marcio Kogan + Lair Reis, a night club by Muti Randolph + Marcelo Pontes + Zemel + Chalabi Arquitetos, and NITSCHE ARQUITETOS’ Bernard Luis housing condominium.  Enjoy!

Reblogged from ArchDaily

newmuseum:

A huge round of applause to Ragnar Kjartansson’s troubadours, who ended their marathon performance last night! Over the course of the exhibition, these intrepid young souls played the same song over and over 6,000 times (that’s 308 hours, 18,480 minutes, or 1,108,800 seconds). Here are the final moments of their performance.

Reblogged from New Museum