ArtSlant - Recently added en-us 40 Donald Sultan - RYAN LEE - November 10th - December 23rd Sat, 01 Oct 2016 18:39:51 +0000 John O'Connor - Pierogi - October 14th - November 13th <p>&ldquo;O&rsquo;Connor plainly knows something but does not fake it which is all to his credit. Rather, his is a deliberate art from start to finish&hellip; But as purposeful as the decisions he makes are, and as resolute as their realization is, there&rsquo;s something excessive and slightly &ldquo;off&rdquo; about those decisions, causing them to be liberating to the viewer exactly at the points &ndash; and those points are scattered throughout individual drawings and across the work as a whole &ndash; where explanations break down and deducing a &ldquo;raison d&rsquo;&ecirc;tre&rdquo; &ndash; or, in plainer terms &ldquo;getting it&rdquo; &ndash; becomes far less interesting than being absorbed by the work, and ultimately lost in it.&rdquo; (Robert Storr)</p> <p>Pierogi is pleased to present an exhibition of recent work by John O&rsquo;Connor. O&rsquo;Connor continues to develop his idiosyncratic, large-scale works on paper alongside modestly scaled paintings and sculpture. Some of the most ambitious works in this exhibition continue a series of large-scale, narrative and sequential drawings &ndash; The Butterfly Series &ndash; that O&rsquo;Connor began developing three years ago with an initial drawing, Butterfly. In O&rsquo;Connor&rsquo;s signature colored pencil and graphite on paper, he is making a series of interconnected, pictographic, and narrative drawings, each measuring over seven feet tall. Thus far he has made four (Alfa, Beta, Charlie, and Delta) and intends to ultimately make twenty-six in total, one for each letter of the alphabet.</p> <p>&ldquo;In these works, I am exploring the relationship between language and image in the form of the pictogram. Drawing from historical pictogram styles and techniques (Ancient Sumerian, Egyptian, and Chinese), and contemporary methods (Emoji, computer coding, children&rsquo;s books, and video games), I am attempting to describe, through his own first person account, the complete lifespan of an individual. The drawings mix image, logos, script, and pattern with invented fonts and text styles that I create. The narrative contains moments of autobiography, but is mainly imaginary. I invent the story section-by-section, line-by-line, with no idea of how it will unfold. I integrate references to the personal and public freely: film, my dreams, social class hierarchy, religious belief systems, and current events, among others. As each story unfolds, I react to the various obstacles that the individual encounters.&rdquo; (O&rsquo;Connor)</p> <p>The protagonist of the series, likely a working class teen at the beginning of the narrative, ingests drugs, engages commercial spaces, encounters various obstacles, and dreams of the future. O&rsquo;Connor allows each stimulant &ndash; legal, illegal, ingested, visual, audio, emotional, etc. &ndash; to dictate the next move in his life. Incrementally (as demonstrated scientifically by the butterfly effect), his life begins to take shape and the semi-autobiographical moments get absorbed into a greater social narrative. Each drawing leads to the next, as day turns into night, and he struggles to survive.&rdquo;</p> <p>O&rsquo;Connor hopes that &ldquo;&hellip;in looking at / reading these works, the viewer will begin to question his or her own motivations for making fundamentally human choices, and question how we decide the most basic things in life &ndash; to eat, sleep, love, work, laugh, drink, etc.&rdquo; Each decision the individual in the drawings makes will accumulate over time into the shape of his emotional and physical life. He (in this case) is the sum of his actions, whether decided by him or some external force more powerful than he. The greater order is dictated by each micro action. &ldquo;I have no idea how this person&rsquo;s life will unfold, but I am fascinated&hellip;to find out.&rdquo;</p> <p>O&rsquo;Connor&rsquo;s work references not only other visual artists &ndash; such as Alfred Jensen, John Cage, Emma Kuntz, Paul Laffoley &ndash; but also authors such as Patricia Highsmith, Donald Barthleme, Joy Williams, Shirley Jackson, and James Salter, whose works have influenced the writing in these drawings.</p> <p>In another text and pictographic work, distinct from this series, Last Week, O&rsquo;Connor draws out six last meals requested by six individuals on death row. As described by O&rsquo;Connor, &ldquo;I was thinking about how the foods would &hellip; taste, and how that&rsquo;s the closest I&rsquo;d ever get to knowing these people, as people. &hellip;There&rsquo;s also a strange and tragic finality to those specific choices. I can relate in very specific ways to the food choices, but not to the person&rsquo;s conditions. I was interested in that tension.&rdquo;</p> <p>Lucky Break bridges the gap between these narrative&ndash;pictographic works and O&rsquo;Connor&rsquo;s interest in visualizing data from subjects of interest to him (such as the lottery, numbers, chance) through idiosyncratic systems and improvised rules for mark making, often incorporating chance and randomness, resulting in works like Noahbot, The Most Perfect Number, 3.55, and 9.12. &ldquo;I try to connect visual patterns with conceptual or information-based patterns.&rdquo; (O&rsquo;Connor)</p> <p>As John Yau notes, &ldquo;[g]iven O&rsquo;Connor&rsquo;s interest in the mundane and how he might use it to measure something about our common experience, his drawings are remarkably different from each other. Clearly, by refusing to dump his preoccupations into the same format, the form he finds always fits the content, making the two indivisible. He keeps the interplay between the overall drawing and the detailed bits of information tightly tuned, like a concert violin.&rdquo;</p> <p>This will be O&rsquo;Connor&rsquo;s sixth one-person exhibition at Pierogi. His works are included in the permanent collections of The Museum of Modern Art (NYC), Whitney Museum of American Art (NYC), among others. His work has been included in exhibitions such as the Tang Museum&rsquo;s &ldquo;Classless Society,&rdquo; (Saratoga Springs, NY). O&rsquo;Connor received an MFA from Pratt Institute and studied at Skowhegan School of Painting and Sculpture.</p> <p>Catalogue available with essays by Rick Moody, Robert Storr, and John Yau.</p> <p>&ldquo;John O&rsquo;Connor seems to simultaneously occupy three divergent positions. He is a statistician crunching numbers, a satirist working in the mode of Jonathan Swift, and an occultist trying to divine the messages hidden in the stuff of everyday life. His work brings together dry, unrelenting logic, a sharp eye for human foibles, and a variety of means for unlocking the secret knowledge in the mundane.&rdquo; (John Yau)</p> Sat, 01 Oct 2016 18:30:42 +0000 - DC Moore Gallery - October 6th - November 5th <p><strong>DC Moore Gallery</strong> is pleased to announce the opening of <em>West Ridge</em>, an exhibition of new work by <strong>Claire Sherman</strong>. Sherman&rsquo;s paintings of exposed islands and chaotic forest interiors challenge us to encounter unpredictable, wild nature through the emphatic materiality of paint. Existing in tension with landscape archetypes, the paintings, like the exhibition&rsquo;s title, evoke specific places that could also be anything, anywhere.</p> <p>Sherman distorts scale, color, and perspective to create &ldquo;unraveling environments.&rdquo; Branches bowed by fringes of moss sweep across the canvas and plunge back into space. Angular limbs appear silhouetted amidst the searing blues and agitated brushstrokes of the night forest beyond. In these works, the artist&rsquo;s approach to subject matter and paint handling finds a parallel in her interest in epiphytes&mdash;plants that grow on top of one another in the tree canopy.</p> <p>As Grabner writes, &ldquo;Landscape, albeit a traditional genre, has become a difficult category of engagement in contemporary painting simply because its pictorial limitations are nearly impossible to explore anew. Yet Claire Sherman is dedicated to landscape&rsquo;s potential, and her large, complex compositions effortlessly depict the logic of the natural world while also tumbling into disorientating abstraction.&rdquo;</p> <p>Works titled <em>Island</em> seem to punctuate the frenzied, dense tangle of the overpowering tree paintings. Surrounded by empty sky, the centered masses test the limits of canvases already over eight feet tall. Each sheer rock face is made up of impossibly long drags of vertical paint and short compressed marks that register as geologic strata while simultaneously indexing the pace of the painting process.</p> <p>It is important to Sherman that her paintings take shape over the course of just one day in the studio. She avoids the overworked, achieving a surface imbued with a sense of ease, speed, and openness to imperfections. Yet sustained research, reading, travel, and photography inform the act of painting, resulting in works that are both seductive and ambivalent. Sherman explains, &ldquo;I engage the history of painting while addressing our current relationships to images, landscape, and contemporary media.&rdquo;</p> <p>Claire Sherman has exhibited widely throughout the United States and in Amsterdam, Leipzig, London, Seoul, and Turin. She has completed residencies at the Terra Foundation for American Art in Giverny, the MacDowell Colony, the Lower Manhattan Cultural Council&rsquo;s Workspace program, the Marie Walsh Sharpe Foundation, and Yaddo. She graduated with an MFA from the School of the Art Institute of Chicago in 2005. An Associate Professor at Drew University in New Jersey, Sherman lives and works in New York City. <em>West Ridge </em>is her second exhibition at DC Moore Gallery. &nbsp;</p> Sat, 01 Oct 2016 15:12:18 +0000 - MoMA (Museum of Modern Art) - October 1st - January 22nd, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <p style="text-align: justify;">For over 60 million persons in the world today, shelter is defined through constant movement or escape. <em>Insecurities: Tracing Displacement and Shelter</em> explores the ways in which contemporary architecture and design have addressed notions of shelter in light of global refugee emergencies. From the strengthening of international borders to the logistics of mobile housing systems, how we understand shelter is ultimately defined through an engagement with security. Refugee camps, once considered temporary settlements, have become sites through which to examine how human rights intersect with the making of cities. Bringing together projects by architects, designers, and artists, working in a range of mediums and scales, that respond to the complex circumstances brought about by forced displacement, the exhibition focuses on conditions that disrupt conventional images of the built environment.</p> <div class="container__section--mde"> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Sean Anderson, Associate Curator, with Ari&egrave;le Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design.</p> <p style="text-align: justify;">This exhibition is part of Citizens and Borders, a series of discrete projects at MoMA related to works in the collection offering a critical perspective on histories of migration, territory, and displacement.</p> <p style="text-align: justify;">Major support for the exhibition is provided by The International Council of The Museum of Modern Art.</p> <p style="text-align: justify;">Additional support is provided by the MoMA Annual Exhibition Fund.</p> </div> </div> </div> </div> </div> Fri, 30 Sep 2016 16:38:06 +0000 - MoMA (Museum of Modern Art) - October 1st - April 23rd, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;">Since the Department of Architecture and Design was first established in the early 1930s, the Museum's curators, guided by a belief in the power of design to shape everyday experiences and perceptions, have focused on the question &ldquo;How should we live?&rdquo; as one of the most vital issues in contemporary design.</p> <p style="text-align: justify;"><em>How Should We Live?</em> explores the complex collaborations, materials, and processes that have shaped the modernist interior, with a focus on specific environments&mdash;domestic interiors, re-created exhibition displays, and retail spaces&mdash;from the 1920s to the 1950s. The exhibition brings together over 200 works, drawn from MoMA's Architecture and Design collection as well as the Library, Drawings and Prints, Painting and Sculpture, Film, and Photography. Rather than concentrating on isolated masterworks, attention is given to the synthesis of design elements within each environment, and to the connection of external factors and attitudes&mdash;aesthetic, social, technological, and political&mdash;that these environments reflect.</p> <p style="text-align: justify;">The exhibition looks at several designers&rsquo; own living spaces, and at frequently neglected areas in the field of design, including textile furnishings, wallpapers, kitchens, temporary exhibitions, and promotional displays. Highlights include recent acquisitions from projects directed by major women architect-designers&mdash;Eileen Gray furnishings for the house E-1027 (1929), and Charlotte Perriand&rsquo;s study bedroom from the Maison du Br&eacute;sil (1959), for example. Designs from other noted partnerships include Lilly Reich and Mies van der Rohe&rsquo;s Velvet and Silk Caf&eacute; (1927), Grete Lihotzky&rsquo;s Frankfurt Kitchen (1926&ndash;27), and collaborations between Aino and Alvar Aalto, Ray and Charles Eames, Florence Knoll and Herbert Matter, and Charlotte Perriand, Pierre Jeanneret and Le Corbusier.</p> </div> <div class="container__section--mde"> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Juliet Kinchin, Curator, and Luke Baker, Curatorial Assistant, Department of Architecture and Design, MoMA.</p> <img src="" alt="" /> <p style="text-align: justify;">The exhibition is made possible by Hyundai Card.</p> <p style="text-align: justify;">Additional support is provided by the Annual Exhibition Fund.</p> </div> </div> </div> </div> </div> Fri, 30 Sep 2016 16:35:32 +0000 - MoMA (Museum of Modern Art) - October 15th - April 30th, 2017 <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;"><em>Making Faces</em> presents a selection of images from the Department of Film&rsquo;s extensive collection of films stills that explore the representation of historical &ldquo;otherness&rdquo; onscreen. This exhibition examines the attempts of commercial film studios to aestheticize identity at various historical moments. Photographic enlargements capture both conscious and unconscious deviations from cultural, social, racial, and gender expectations from the silent era through the Blaxploitation films of the 1970s.</p> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Ashley Swinnerton, Collection Specialist, and Dessane Cassell, Curatorial Fellow, Department of Film.</p> </div> </div> </div> Fri, 30 Sep 2016 16:31:02 +0000 Mark Leckey - MoMA (Museum of Modern Art) - October 23rd - March 5th, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;">MoMA PS1 presents the first comprehensive survey in the United States of the pioneering British artist Mark Leckey, and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, Lecky&rsquo;s dynamic and varied practice has combined formal experimentation with pointed explorations of class and history. His art has addressed the radical effect of technology on popular culture and art, and given form to the transition from analog to digital culture, powerfully influencing younger generations of artists. Occupying two floors of MoMA PS1, the exhibition brings together major bodies of Leckey&rsquo;s work, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition. Among the highlights will be Leckey&rsquo;s breakthrough film <em>Fiorucci Made Me Hardcore</em> (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist&rsquo;s Sound System sculptures (2001&ndash;12), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; <em>GreenScreenRefrigeratorAction</em> (2010), a video and installation that considers &ldquo;smart&rdquo; objects and our increasingly technological environment; and a new iteration of the installation <em>UniAddDumThs</em> (2014), which Leckey created as a &ldquo;copy&rdquo; of a touring exhibition that he had curated the year before.</p> <p style="text-align: justify;">The exhibition will also feature a newly expanded presentation of <em>Dream English Kid 1964&ndash;1999 AD</em> (2015), an autobiography told through what the artist calls &ldquo;found memories&rdquo; that have been compiled from sources like archival television clips, YouTube videos, and eBay ephemera, as well as meticulous reconstructions of specific memories using props and models. Combining deeply personal and popular subjects, this amalgamation of media allows Leckey to investigate the pivotal moments in technology and culture that have occurred in his lifetime.</p> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art.</p> <p style="text-align: justify;">The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts and by MoMA&rsquo;s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.</p> <p style="text-align: justify;">Major support is provided by The International Council of The Museum of Modern Art. Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.</p> </div> </div> </div> </div> </div> Fri, 30 Sep 2016 16:28:40 +0000 - MoMA (Museum of Modern Art) - October 29th - May 27th, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;"><em>The Shape of Things: Photographs from Robert B. Menschel</em> presents an engaging survey of The Museum of Modern Art&rsquo;s multifaceted collection of photography. Borrowing its title from the eponymous work by Carrie Mae Weems, the exhibition is drawn entirely from works acquired over the past 40 years with the support of Robert B. Menschel, telling the story of photography from its beginnings.</p> <p style="text-align: justify;">Covering more than 150 years of photography&mdash;from an 1843 view of Paris by William Henry Fox Talbot, the English father of photography, to Andreas Gursky&rsquo;s contemporary monumental landscapes, the exhibition underscores an equal attention to the past and the present, and a strong belief that they complement each other; and that each generation reinvents photography. Since Menschel joined the Committee on Photography at MoMA in 1977, over 500 works have entered the collection through his support, including 162 photographs he recently donated from his personal collection.</p> <p style="text-align: justify;">Organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography.</p> </div> </div> </div> </div> Fri, 30 Sep 2016 16:24:29 +0000 Francis Picabia - MoMA (Museum of Modern Art) - November 21st - March 19th, 2017 <div id="reader-credits" class="credits" style="text-align: justify;">Edited by Anne Umland and Cath&eacute;rine Hug, 2016</div> <div class="container__section--mde"> <p style="text-align: justify;"><em>Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction</em> is a comprehensive survey of Picabia&rsquo;s audacious, irreverent, and profoundly influential work across mediums. This will be the first exhibition in the United States to chart his entire career.</p> <p style="text-align: justify;">Among the great modern artists of the past century, Francis Picabia (French, 1879&ndash;1953) also remains one of the most elusive. He vigorously avoided any singular style, and his work encompassed painting, poetry, publishing, performance and film. Though he is best known as one of the leaders of the Dada movement, his career ranged widely&mdash;and wildly&mdash;from Impressionism to radical abstraction, from Dadaist provocation to pseudo-classicism, and from photo-based realism to <em>art informel.</em> Picabia&rsquo;s consistent inconsistencies, his appropriative strategies, and his stylistic eclecticism, along with his skeptical attitude, make him especially relevant for contemporary artists, and his career as a whole challenges familiar narratives of the avant-garde.</p> <p style="text-align: justify;"><em>Francis Picabia</em> features over 200 works, including some 125 paintings, key works on paper, periodicals and printed matter, illustrated letters, and one film. The exhibition aims to advance the understanding of Picabia&rsquo;s relentless shape-shifting, and how his persistent questioning of the meaning and purpose of art ensured his iconoclastic legacy&rsquo;s lasting influence.</p> <div class="container__section--mde"> <div class="calendar-credits"> <p style="text-align: justify;"><em>Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction</em> is organized by The Museum of Modern Art, New York, and the Kunsthaus Z&uuml;rich.</p> <p style="text-align: justify;">Organized by Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art, and Cath&eacute;rine Hug, Curator, Kunsthaus Z&uuml;rich; with Talia Kwartler, Curatorial Assistant, Department of Painting and Sculpture.</p> <p style="text-align: justify;">Major support for the New York presentation is provided by The International Council of The Museum of Modern Art.</p> <p style="text-align: justify;">Generous funding is provided by Lawrence B. Benenson.</p> <p style="text-align: justify;">This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.</p> <p style="text-align: justify;">Additional support is provided by the Annual Exhibition Fund.</p> </div> </div> </div> Fri, 30 Sep 2016 16:09:08 +0000 Josef Albers - MoMA (Museum of Modern Art) - November 20th - April 2nd, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;">Josef Albers (American, born Germany, 1888&ndash;1976) is a central figure in 20th-century art, both as a practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Best known for his iconic series Homages to the Square, Albers made paintings, drawings, and prints and designed furniture and typography. The least familiar aspect of his extraordinary career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this remarkable body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production.</p> <p style="text-align: justify;">The first serious exploration of Albers&rsquo;s photographic practice occurred in a modest exhibition at MoMA in 1988, <a href="" target="_blank"><em>The Photographs of Josef Albers</em></a>. In 2015, the Museum acquired 10 photocollages by Albers&mdash;adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago&mdash;making its collection the most significant anywhere outside the Foundation. This installation celebrates both this landmark acquisition and the publication of <em>One and One Is Four: The Bauhaus Photocollages of Josef Albers</em>, which focuses exclusively on this deeply personal and inventive aspect of Albers&rsquo;s work and makes many of these photocollages available for the first time.</p> <p style="text-align: justify;">Organized by Sarah Hermanson Meister, Curator, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.</p> </div> </div> </div> </div> Fri, 30 Sep 2016 16:06:26 +0000 Group Show - MoMA (Museum of Modern Art) - December 4th - March 12th, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;">Covering the period of artistic innovation between 1912 and 1934, <em>A Revolutionary Impulse: The Rise of the Russian Avant-Garde</em> traces the arc of the pioneering Russian avant-garde from World War I through the 1917 Revolution and the completion of the first Five-Year Plan. Bringing together major works from MoMA&rsquo;s extraordinary collection, the exhibition features breakthrough experimental projects in painting, drawing, sculpture, prints, book and graphic design, film, photography, and architecture by leading figures such as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kasimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others.</p> <p style="text-align: justify;">Coinciding with the centennial of the Russian Revolution, this exhibition examines key developments in the conception of Cubo-Futurism, Suprematism, Transrational Language, and Constructivism, as well as avant-garde film and photomontage. The remarkable sense of creative urgency, radical cross-fertilization, and synthesis within the visual arts&mdash;as well as aspirations among the Russian avant-garde to affect unprecedented sociopolitical transformation&mdash;wielded an influence on modes of art production in the 20th century and changed the course of modern history.</p> <p style="text-align: justify;">Organized by Roxana Marcoci, Senior Curator, Department of Photography and Sarah Suzuki, Curator, Department of Drawings and Prints; with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.</p> </div> </div> </div> </div> Fri, 30 Sep 2016 16:04:04 +0000 NĂ¡stio Mosquito - MoMA (Museum of Modern Art) - September 18th - October 30th <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;">Through a multidisciplinary practice that bridges performance, music, video, installation, sound, and poetry, N&aacute;stio Mosquito (Angolan, born 1981) tackles formidable subjects, from identity to faith to the complicated history of colonialism in his native country. <em>Projects 104: N&aacute;stio Mosquito</em> comprises a new work, <em>Respectable Thief</em>, that investigates the act and effects of appropriation&mdash;the ways in which both individuals and cultures &ldquo;take possession of what is useful,&rdquo; as he has described, to construct identity, to maintain relationships, and to gain power. Mosquito is interested in the fluid possibilities of language both as a means of expression and as a tool for empowerment. <em>Respectable Thief</em>&rsquo;s text-based visual and sonic elements recur and recombine across the Project&rsquo;s three components: a single performance on September 23, 2016, in the Roy and Niuta Titus Theaters; a video installation; and several interventions across MoMA&rsquo;s existing media platforms, including the display screens in the lobby, the Kids audio tour, and select social media channels. This is Mosquito&rsquo;s first solo exhibition in a US museum.</p> <div class="calendar-credits"> <p style="text-align: justify;"><em>Respectable Thief</em> is commissioned by The Museum of Modern Art in conjunction with <em>Projects 104: N&aacute;stio Mosquito.</em></p> <p style="text-align: justify;">Organized by Cara Manes, Assistant Curator, Department of Painting and Sculpture.</p> <p style="text-align: justify;">The Elaine Dannheisser Projects Series is made possible in part by the Elaine Dannheisser Foundation and The Junior Associates of The Museum of Modern Art. Special thanks to Corpus, a network for performance practice, and Vooruit Arts Centre.</p> </div> </div> </div> </div> </div> Fri, 30 Sep 2016 10:16:03 +0000 Kai Althoff - MoMA (Museum of Modern Art) - September 18th - January 22nd, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="container-uneven--2 body-copy--simple"> <div class="container__section--mde"> <p style="text-align: justify;">&ldquo;Within an environment envisioned by the artist upon seeing the gallery allotted to him, he arranges work stemming from his early youth to the very present, in a manner of a child being handed toys, new and old: some are cherished and idolized, some are semi-precious in rank, some are abandoned and neglected in slumber of increasing hate generating towards them. Some are loved to the utmost, so much he&rsquo;d want to hold onto them until the very last moment before death, and beyond.</p> <p style="text-align: justify;">&ldquo;The work being treated as such will be comprised of fragments of former larger scale environments, drawings, paintings, objects found and fabricated. In &lsquo;and then leave me to the common swifts&rsquo;, nothing is an attempt of recreating the original composition of when these works were displayed each for its first time. Instead the artist gives in to whatever his innate forces originating in his emotions command him to do upon the encounter with this work, his very own, for the most part. The result is further also constrained by time or its lack, and the pressure created by complex sociological processes, which sometimes leads the artist to surrender to a fatalism otherwise strongly fought.&rdquo;</p> </div> <div class="container__section--mde"> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Laura Hoptman, Curator, and Margaret Ewing, Curatorial Assistant, Department of Painting and Sculpture.</p> <p style="text-align: justify;">Generous funding for the exhibition is provided by the Ringier Collection, The International Council of The Museum of Modern Art, and MoMA&rsquo;s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.</p> <p style="text-align: justify;">Special thanks to Craig Robins and Jackie Soffer and to Erik Bruce Fabrik.</p> <p style="text-align: justify;">Additional support is provided by the Annual Exhibition Fund.</p> </div> </div> </div> </div> </div> Fri, 30 Sep 2016 10:08:30 +0000 - MOCA - Museum of Chinese in America - October 6th - March 26th, 2017 <p style="text-align: justify;">Join us for conversations around a dinner table with 33 Chinese and Asian-American chefs. <em>Sour, Sweet, Bitter, Spicy</em>&nbsp;weaves together complex stories through a dynamic video installation featuring pioneering chefs such as Cecilia Chiang, Ken Hom, Anita Lo, Ming Tsai, and Martin Yan; new restaurateurs like Peter Chang, Vivian Ku, and Danny Bowien; and persevering home cooks like Biying Ni, Yvette Lee and Ho-chin Yang. </p> <p style="text-align: justify;">In Chinese the saying <em>Sour, Sweet, Bitter, Spicy</em> refers not only to the delicate balance of flavors that defines Chinese cooking but also the ups and downs of life. Set in an immersive video installation, the tapestry of tales that emerges will be rich with immigration experiences, food memories, favorite dishes and cooking inspirations that define the culinary&mdash;and personal&mdash;identities of these chefs, drawing visitors into the middle of a conversation about how food defines Chinese in America. In the center of the gallery will be a monumental dinner table, with each chef represented by personally selected artifacts from their kitchens and place settings featuring unique ceramic vessels that will link cooking styles to regional culinary traditions. </p> <p style="text-align: justify;"><em>Sour, Sweet, Bitter, Spicy</em> is an imaginary banquet in which featured guests represent diverse histories, cuisines, and geographic regions. By understanding these elements, we can start to identify what Annie Hauck-Lawson and Jonathan Deutsch might call a &ldquo;food voice&rdquo; for Chinese in America. They write: &ldquo;The concept of the food voice means that what people choose to procure, prepare, and eat&mdash;and what they do not eat&mdash;can reveal much about their identity and culture. Often, the food voice expresses what the spoken voice struggles to articulate.&rdquo; </p> <p style="text-align: justify;">What does Chinese food in America, in its dizzying variety, say about who we are&mdash;or are not&mdash; today?</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><a href=";src=typd"><strong>#So</strong><strong>urSweetBitterSpicy</strong></a></p> Fri, 30 Sep 2016 09:58:45 +0000 - Museum of the City of New York - November 9th - March 4th, 2017 <p style="text-align: justify;">How tall can New York buildings be? How wide? Where can developers build homes, factories, offices, or stores? Where do New Yorkers live, work, and play? The character of New York&rsquo;s varied neighborhoods is governed by a novel set of rules first envisioned by New York reformers 100 years ago &ndash; the groundbreaking Zoning Resolution of 1916. Zoning, which was designed to tame the unruly process of free-market real estate development, has continued to shape the city we know today in countless, often unseen, ways.</p> <p style="text-align: justify;">This landmark law gave birth to the iconic &ldquo;setback&rdquo; skyscraper and the modern skyline; to special neighborhoods like the Theater District; to public amenities like pedestrian plazas, and to residential neighborhoods of all shapes and sizes. On the 100th anniversary of America&rsquo;s first comprehensive zoning resolution, <em>Mastering the Metropolis: New York and Zoning, 1916-2016&nbsp;</em>will examine the effects of the evolving law and chart the history of the city&rsquo;s zoning rules and debates to the current day, illuminating how the tools of zoning have reflected a century of evolving ideas about what constitutes an &ldquo;ideal&rdquo; city.</p> <p style="text-align: justify;">Join the conversation. #Zoning100</p> Fri, 30 Sep 2016 09:55:35 +0000 - Museum of the City of New York - October 7th - February 26th, 2017 <h2 class="page-blurb" style="text-align: justify;"><span style="font-size: small;">Celebrating an often-hidden side of the history of New York City.</span></h2> <p style="text-align: justify;"><span style="font-size: small;">New York has long been a beacon for lesbian, gay, bisexual, and transgender artists seeking freedom, acceptance, and community. <em>Gay Gotham: Art and Underground Culture in New York</em> brings to life the queer creative networks that sprang up in the city across the 20th century&mdash;a series of artistic subcultures whose radical ideas had lasting effects on the mainstream.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Peeling back the layers of New York&rsquo;s LGBT life that thrived even in the shadows, this groundbreaking exhibition reveals an often-hidden side of the history of New York City and celebrates the power of artistic collaboration to transcend oppression. Visitors will encounter well-known figures, from Mae West to Leonard Bernstein to Andy Warhol, and discover lesser-known ones, such as feminist artist Harmony Hammond, painter and writer Richard Bruce Nugent, and transgender artist Greer Lankton. Surprising relationships emerge: Warhol and Mercedes de Acosta; Robert Mapplethorpe and Cecil Beaton; George Platt Lynes and Gertrude Stein.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Comprising two full galleries, <em>Gay Gotham</em> features the work of these artists, including paintings and photographs, as well as letters, snapshots, and ephemera that illuminate their personal bonds and reveal secrets that were scandal-provoking in their time and remain largely unknown today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Join the conversation. #GayGotham</span></p> Fri, 30 Sep 2016 09:51:29 +0000