Sunday, October 28, 2012

on view @ PS1

Now Dig This! Art and Black Los Angeles 1960–1980

On view October 21, 2012—March 11, 2013
Now Dig This! Art and Black Los Angeles 1960–1980 chronicles the vital legacy of the African American arts community in Los Angeles, examining a pioneering group of black artists whose work and connections with other artists of varied ethnic backgrounds helped shape the creative output of Southern California. The exhibition presents approximately 140 works by thirty-two artists active during this historical period, exploring the rising strength of the black community in Los Angeles as well as the increasing political, social, and economic power of African Americans across the nation.
Several prominent black artists began their careers in the Los Angeles area, including Melvin Edwards, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge, Noah Purifoy, and Betye Saar. Their influence, like that of all of the artists in the exhibition, goes beyond their immediate creative circles and the geography of Los Angeles and is critical to a more complete and dynamic understanding of twentieth-century American Art.

Now Dig This! Art and Black Los Angeles 1960-1980 is organized by the Hammer Museum, Los Angeles. The exhibition is curated by Kellie Jones, Associate Professor in the Department of Art History and Archaeology, Columbia University, and organized at MoMA PS1 by Christophe Cherix, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books, The Museum of Modern Art, and Peter Eleey, Curator, MoMA PS1, in association with Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art.
The presentation at MoMA PS1 is made possible by MoMA's Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
Additional support is provided by Lawrence B. Benenson, David Teiger, The Contemporary Arts Council of The Museum of Modern Art, The Friends of Education of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art, and by Bernard Lumpkin and Carmine Boccuzzi.
The exhibition was made possible by major grants from the Getty Foundation. Generous support was provided by the Henry Luce Foundation; the National Endowment for the Arts, a federal agency; The Andy Warhol Foundation for the Visual Arts, which funded a Curatorial Research Fellowship; and The Broad Art Foundation.

Wednesday, October 24, 2012

Watch out: upcoming Program @ the Whitney Museum..

Eleanor Antin: Conversations with Stalin
Friday, November 2, 2012  6:30 PM
Lower Gallery
Spanning a variety of mediums including photography, video, film, performance, installation, drawing, and writing, Eleanor Antin’s work has explored entrenched assumptions about gender and power. As one of the first artists to re-introduce autobiography, narrative, and performance back into the art world in the 1960s and ’70s, Antin created an imaginary theater of personae and mythological characters, dramatizing contemporary personal and political narratives through a kind of historical time travel. In this performance, she reads four chapters from her coming-of-age memoir Conversations with Stalin, a no-holds-barred black comedy of growing up in New York City. This event is the culmination of a four-part series of readings across the city.

Free with Museum admission, which is pay-what-you-wish on Fridays, 6–9 pm; no special tickets or reservations are required.

Tuesday, October 23, 2012

Upper East SIde wild with Halloween NY TIMES A nightmare on Park Avenue

At no point is the East Side’s submission to child-centeredness more aggressively in evidence than in the days leading up to Oct. 31; we are now in the era of what one Park Avenue exile calls “a hedge-fund Halloween.” By this she means the relatively new tradition among town-house owners, mostly between Fifth Avenue and Lexington Avenue, to appoint the stoops and facades of their buildings as if someone had asked them to enact a particular 0.01 percent nightmare: “Imagine that you’d failed to acquire some of the most expensive real estate on earth. Pretend you lived in Brooklyn instead, and not in Cobble Hill but in Dyker Heights, that distant precinct famous for its polyvinyl snowmen and street-clogging paeans to Christmas.”
Some people might wonder what extremely wealthy people would do with potential further cuts to the capital gains tax, but these people don’t realize how many hay bales there are in the world, how many glitter pumpkins, mock corpses, enormous fake spiders, moving cobwebs and mechanical skeletons to buy and stage. For several years now, Marc Lasry, the co-founder of Avenue Capital, has decorated his mansion on East 74th Street with bloodied bodies hanging from the balcony, skeleton heads, a giant inflatable ghost, swinging bats and a life-size, clothed skeleton affixed to a tree on the sidewalk. One afternoon last week, tourists and children gathered to take pictures of a dancing skeleton beside the front door. It was singing“Super Freak.” (Perhaps in the spirit of competition, the hedge fund manager Philip A. Falcone and his wife, Lisa Maria, have lavishly decorated the exterior of their 27,525-square-foot house on East 67th Street even though it is currently a construction site.)
In the East 90s, similar expressions of enthusiasm abound and multiply. A town house on 91st Street between Park and Lexington features a giant inflatable coffin from which a vampire pops up every few seconds. On top of the stoop, guarding the front door, is an approximately eight-foot-tall plastic witch. Skeleton heads are submerged in the landscapin

Monday, October 22, 2012

CHECK THAT: A Living Room Suspended Over Columbus Circle


A Living Room Suspended Over Columbus Circle

Vente aux enchères Jeudi 25 octobre 2012 - Une Collection à la Villa Noailles

Vente aux enchères Jeudi 25 octobre 2012 - Une Collection à la Villa Noailles

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Sunday, October 21, 2012

Artist we like: Njideka Akunyili seen at the Studio Museum In Harlem

Witch Doctor Revisited


  • Acrylic, charcoal, pastel, colored pencil, collage and xerox transfers on paper
  • 4.25 ft. × 6.3 ft
  • .

Hudson-Inspired Art, Popping Up All Over as published in the NYTIMES



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Courtesy of Leon Reid IV
“Pedestrian Shuffle,” 10-foot-tall metal stick figures by Leon Reid IV.
Howard Goodman
“Swarm,” an installation by Diana Cooper.
Courtesy of the Daniel Phillips and DODGE Gallery
One of three simultaneous projections from “Warehouse Reflections,” by Daniel Phillips.
THE space is dark and damp; its unfinished floor rutted. But the far wall of this approximately 6,000-square-foot vacant warehouse is illuminated by three floor-to-ceiling projections — an overgrown cemetery, abandoned architectural ruins and the ever-changing Hudson River — all mirrored in a man-made pool below.
This is “Warehouse Reflections,” an installation by Daniel Phillips that is part of “Peekskill Project V,” a gathering of contemporary artwork in pop-up galleries, parks and empty lots in 15 locations throughout the city, as well as in the Hudson Valley Center for Contemporary Art.
Organized by the center, “Peekskill Project V,” which takes place in three iterations through July, presents paintings, sculptures, photographs, videos, installations and performances by more than 100 artists, all responding to 21st-century life in the Hudson Valley.
“The romantic scenery of the Hudson River trail has inspired artists for hundreds of years,” said Livia Straus, the center’s co-founder and director and one of 14 curators of “Peekskill Project V.” “Our concept was to reconsider the work of the 19th-century Hudson River School painters, and to look at how contemporary artists are interfacing with this landscape.”
Not far from Mr. Phillips’s piece is another vacant building, this one housing the work of eight artists. Inside the three-level space, visitors will find installations and paintings likeAndy Piedilato’s “Antagonist,” a more than 20-foot-long canvas of a black form in a swirling sea of hatch marks — a whale, perhaps, or is it a submarine? In a darkened room,Chantel Foretich’s “Untitled” is a whimsical collection of dangling miniature buildings modeled after structures in Peekskill.
“I’ve got Oley and Chuck’s bar, the dry cleaner across from the train station and a rather gigantic Walgreens,” Ms. Foretich said. “It’s like taking a shrunken stroll through town.”
People taking a stroll through town will encounter art at every turn — nestled in storefront windows, adhered to the ceiling of the gazebo downtown, erected between a church and a pharmacy. In front of the Field Library, the two 10-foot-tall metal stick figures in Leon Reid IV’s “Pedestrian Shuffle” seem to saunter along the sidewalk. The muscular bronze diver in Carole A. Feuerman’s “Golden Mean,” one of five sculptures installed in Riverfront Green Park, balances upside down on two hands, his body arching more than 16 feet into the air as if ready to spring into the Hudson. The message is clear to viewers of the graphic mural created by the twin-brother duo Skewville along the facade of the Hudson Valley Center for Contemporary Art: its blocky blue letters proclaim, “It’s whats outside that counts.” Nevertheless, “Peekskill Project V” continues inside the center, with paintings, sculptures and installations by 40 artists. “Untitled: Crushed Boxes,” an installation byPhyllida Barlow, a British sculptor known for her use of mass-produced materials, fills a section of the gallery the way construction blocks the sidewalks of Manhattan.
“This piece was part of her response to the New York City landscape as a place that’s constantly in flux,” Ms. Straus said.
While most of the artists participating in “Peekskill Project V,” who range in age from their 20s to their 60s, live and work in the Hudson Valley, almost a quarter of them arrived here from other countries.
Ouattara Watts, who is based in New York City and whose boldly colored painting “Les maîtres fous” depicts a snakelike creature slithering across the canvas, was born in Ivory Coast. Ran Hwang, also based in New York City, was born in Korea; her “Healing Blossoms” is a two-wall installation consisting of thousands of beads and paper buttons pinned to a turquoise wooden panel like a web of delicate blossoms.
In the center’s mezzanine gallery, two Hudson River School works — “The Oxbow,” from 1836, by Thomas Cole, and “Twilight in the Wilderness,” 1860, by Frederic Edwin Church — served as the starting points for Purdy Eaton’s two identically named paintings.
While similar in composition and palette, Ms. Eaton’s images incorporate contemporary references. Her “Oxbow” includes cookie-cutter suburban houses along the shoreline, while on the riverbank in her “Twilight in the Wilderness,” she has added tiny lettering, phrases taken from Bruce Nauman’s 1984 neon “One Hundred Live and Die.” Back downstairs, Diana Cooper’s “Swarm” is a room-size installation composed of hundreds of small, black arrowlike shapes attached in clustered patterns to the gallery’s white walls. Ms. Cooper, who grew up in Dobbs Ferry and lives in Brooklyn, described the work as addressing the relationship between the natural world along the Hudson River and the densely urban environment that borders it. “It’s a conflation of the organic — the birds and insects — and the inorganic — aviation, architecture, technology,” she said.
Ms. Cooper was standing beside her piece in the museum; she had taken Metro-North from New York City to Peekskill. “On the train today, I actually saw a swarm of birds over the river,” she said. “I couldn’t believe it; it was like a sign. At first, they were scattered, and there didn’t seem to be any order. But then, they started coming together, and miraculously they formed this one sinewy structure.”

“Peekskill Project V” continues through July 28, 2013. For more information, contact the Hudson Valley Center for Contemporary Art, 1701 Main Street, Peekskill; or (914) 788-0100.

Saturday, October 20, 2012

Chelsea Market as read on French DISTRICT..

Le boyau mercantile et gourmand du quartier de Chelsea

On regarde, on compare, on hume les bonnes odeurs, on goûte 
et puis on achète… tout cela dans une ambiance vive et fourmillante, 
on est bien au Chelsea Market, ce long couloir de 250 mètres installé 
dans une ancienne biscuiterie Oreo, et qui abrite de nombreux 
petits commerces d’alimentation de très bonne qualité. Que ce soit 
pour se nourrir, ou juste pour se faire plaisir, le Chelsea Market est 
devenu incontournable en matière de shopping alimentaire 
dans le coin de Chelsea.La première bonne nouvelle, c’est que l’on peut 
déguster à peu près tout avant d’acheter au Chelsea Market. Un cookie, 
une rasade de lait chocolaté, une gorgée de soupe de poisson, des mises 
en bouches italiennes, une cuillerée de glace…

On passe du sucré au salé et du chaud au froid, sans états d’âmes 
et avec gourmandise tant l’ambiance s’y prête et les produits
 sont de (très) bonne qualité.Ensuite, se balader dans le coin est
 aussi l’occasion d’admirer le travail d’artistes 
new yorkais contemporains, et notamment les œuvres 
de certains sculpteurs, taillées dans le granite. 
On peut remarquer aussi les majestueux ascenseurs,
 très modernes et les murs ornés 
de belles photographies.

The Lobster Place, le poisson à la source

C’est le temple de la « « sea food ». L’ambiance y est chic, les vitrines opulentes sentent bon la mer, 
et les prix eux aussi sont copieux. Laissez vous prendre dans les mailles de leur filet et 
allez renifler les langoustes du Maine fraîchement pêchées ou les beaux saumons 
débordants d’Omega 3. N’hésitez pas à tester la Bisque de homard maison, délicieuse et parfumée.

Jacques Torres Chocolatier

Des chocolats réalisés avec des produits de qualité supérieure, sans aucun conservateur
 ni colorant, et avec des techniques presque savantes, c’est ce qui fait le succès de ce chocolatier, 
véritablement incontournable dans le Chelsea Market.

Les bonnes viennoiseries d’Amy’s Bread

D’excellents pains qui sortent du four (goutez celui au fenouil et au raisin), des cakes et 
des gâteaux ultra frais et des sandwiches créatifs et copieux. Les gourmands seront contents 
d’apprendre qu’il existe plusieurs enseignes dans le quartier.
Amy’s Bread   •  75 Ninth Avenue  •  (entre la 15th & 16th Street)  •  New York, NY 10011 212 462 4338  Du lundi au vendredi de 7h30 à 21h. 
Le samedi de 8h à 20h et le dimanche de 8h à 19h 

Eleni’s, la pâtisserie acidulée

Cette classique pâtisserie américaine propose des cup cakes dans la plus large gamme 
chromatique et d’autres petits gâteaux et cookies toujours très colorés. Un peu chimique quand même…
Eleni's   •  75 9th Avenue  •  New York, NY 10011  
Du lundi au vendredi de 9h à 20h. Le samedi de 9h à 19h.  

Hale and Hearty soups, le marchand de soupes très populaires

Rien de tel qu’un velouté de légumes frais bien brûlant pour vous remettre de la vilaine bise 
new yorkaise, et c’est encore mieux si le breuvage vient de Hale and Hearty !
Des consommés légers, des veloutés onctueux, des potages et des bouillons bouillants, 
bref toutes les soupes que vous aimez, et plein d’autres que vous ne connaissez pas encore.

Hale and Hearty soups   •  75 Ninth Avenue  •  New York, NY  212 255 2400  Du lundi au vendredi de 7h à 20h. Samedi et dimanche de 11h à 19h. 
En bonus un extrait de l’excellente série culte newyorkaise « Seinfeld », à propos d’un marchand 

Fat Witch Bakery, la boulangerie diabolique

Alléché par les odeurs ensorceleuses, on ne reste pas bien longtemps devant sans rentrer et goûter
 un échantillon de leurs brownies démoniaques qui fondent littéralement en bouche. 
En ressortant avec un gros sac d’emplettes quelques minutes plus tard, on se dit qu’il est 
parfois très agréable de se faire piéger !
Fat Witch Bakery   •  75 Ninth Avenue  •  New York, NY 10011 888 419 4824  Du lundi au samedi de 10h à 20h. Le dimanche de 10h à 19h 

Le Milk Bar, pour avoir le lait, le beurre et la chantilly 

de la crémière…

Presqu’en direct des fermes américaines, ce bar à lait vend des produits ultra frais et des glaces maison.
Ronnybrook Milk Bar Chelsea Market   •  75 Ninth Ave  •  New York, NY 10011 212 741 6455  

Infos pratiques

Chelsea Market   •  75 9th avenue   •  (entre la 15th et la 16th streets)  •  New York, NY 10011  Du lundi au samedi, de 7 heures à 21 heures et le dimanche,
 de 8 heures à 19 heures. 
C'est pas nous qu'on l'a dit...
Je ne mange pas d’huîtres. Je veux que mes aliments soient morts. Ni malades, ni blessés... morts.
Woody Allen


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