Park Avenue Armory

Venue  |  Exhibitions  |  Reviews

In a Moving Orchestra of Grief, Mourning Is a Professional—and Political—Act

by Osman Can Yerebakan
“Each of us has his own rhythm of suffering” Roland Barthes wrote in his following the death of his mother with whom he lived until her passing. The performance of suffering, and the unique, personal rhythms it can take, is at the center of An Occupation of Loss, Taryn Simon’s monumental installation and performance now in its two-week tenure at the Park Avenue Armory. Eleven concrete towers—thin, cylindrical, dystopian—trace a semicircle through the center of the Armory’s dimmed Wade... [more]
Posted by Osman Can Yerebakan on 9/19/16

A Novel, a Sculpture, and a Ballet, Tree of Codes Builds Transitory Somethings Out of Nothings

by Janet Oh
is the collaborative production of three artists practicing at the forefront of the performing and visual arts today: choreographer Wayne McGregor, artist Olafur Eliasson, and producer/DJ Jamie xx. The full-length ballet, which completed its US premiere run at the Park Avenue Armory this week, was inspired by Jonathan Safran Foer’s conceptual novel of the same name. The label “writer” attributed to Foer for this work is somewhat imperfect. At once a sculptural object and work of literature,... [more]
Posted by Janet Oh on 9/22/15

2012 Space Odyssey

by Lilly Wei
It’s not a bird or a plane but it is Tom Sach’s Space Program: Mars, the newest immersive installation occupying the daunting 55000 sq. ft. of the Park Avenue Armory’s great drill hall. Transformed into a hangar testing ground for a trip to the red planet, NASA logos are imprinted everywhere as if to lend authenticity to all the ingenious, sometimes glorious, geeky, and somewhat retro Star Wars fakery that Sachs has filled it with. Like any high-security area, visitors are greeted by... [more]
Posted by Lilly Wei on 5/27/12

Super Supper

by Charlie Schultz
Almost anyone in tune with western pop culture can imagine Leonardo da Vinci’s painting “The Last Supper.” What one thinks of the famous fresco is a matter totally unrelated; the image is there in our collective psyche as if it were contemporary with our age. To further enhance with high def rigor is the goal Peter Greenaway, filmmaker and artist, set for himself when he began Ten Classic Paintings Revisited with Rembrandt’s “Night Watch.” The project brings cinematic life to classic paintings... [more]
Posted by Charlie Schultz on 12/12/10