The Gavin Brown Enterprise's booth at Frieze.
Photo: Courtesy of Marco Scozzaro/Frieze
Gavin Brown's booths tend to try harder to be interesting than
most — and usually succeed. In 2013, Brown had horror-camp artist Bjarne
Melgaard paint the walls of his Frieze New York booth magenta and fill
its labyrinthe arrangement with heaps of neon fleece carpets that made
it difficult to walk (sort of a "fuck you" to fairgoers in heels — but
then again, the carpets were also for sale, at $12,000 each). In 2012,
the booth's centerpiece was Rirkrit Tiravanija's Untitled (Kramer and Newman Make Sausage), a performance in which Brown and the actor Mark Ruffalo grilled sausages and offered them to passersby.
On
May 13, the booth resembled something between a sweatshop and a
day-care center as attendees who managed to snag a pass to the VIP
preview clustered at four collapsible tables, pushing black acrylic
paint into eight-inch-diameter circles on square-foot canvases.
Attendants behind them used ladders to mount their labors in seven
50-by-50 clusters, each a small work that became part of a bigger one.
For the labor, each volunteer willing to make Horowitz’s art for him was
compensated with a check for 20 bucks.
Jonathan Horowitz with his work.
Photo: @openingceremony
(Not that they were supposed to be cashed: Participants were mostly
keeping the checks to be framed, as a Jonathan Horowitz piece. If you
did decide to take it to the bank to exchange for an Andrew Jackson,
Gavin Brown will see you cashed it and will either think you're
punk-rock or a no-class cheapskate. Up to you to risk it.).....read more;
http://www.vulture.com/2015/05/artist-pays-art-insiders-20-to-make-his-art.html
Propriété de la France depuis 1952, la Payne Whitney Mansion, sise au 972 Fifth Avenue, chef-d’œuvre architectural du Gilded Age new-yorkais, abrite désormais le siège de la Villa Albertine, tête de pont d’un réseau de 10 antennes à travers les États-Unis. Dans le cadre d’une rénovation d’ampleur, les espaces de réception ont été restaurés et redécorés par l’Atelier de Ricou, en écho au travail mené par le décorateur Jacques Garcia pour la Librairie Albertine en 2014. Cette rénovation complète la restauration de la Venetian Room en 2018 et antérieurement la redécouverte du Cupidon de Michel-Ange, seule statue de l’artiste présente sur le sol nord-américain. La création contemporaine fait également à cette occasion son entrée dans ce bâtiment historique. À l’été dernier, une carte blanche a été offerte à Flora Moscovici (née en 1985) pour la réalisation d’une œuvre monumentale, intitulée Helen’s Stairway, prenant la forme d’un all-over éthéré et coloré dans l’escalier desservant l...
source https://www.linkedin.com/feed/update/urn:li:activity:6852251752637587456/ This week ARRIVALS, an exhibition curated by Heather Ewing , opened at the #KatonahMuseumofArt. It's on view through January 23, 2022. Come visit! The show is organized around a series of "arrival moments" -- Columbus, the Middle Passage, the Mayflower, Ellis Island / Angel Island, WW2, 1965, and Today -- in order to explore some of the myths and origin stories that have shaped American identity. ARRIVALS asks how artists over several centuries have helped to construct these stories, disrupt or challenge them, how they have navigated their own arrival stories, and how they are imagining new kinds of stories to tell in future. Some of the 50+ artists represented include Hannelore Baron, Maria Magdalena Campos-Pons, Enrique Chagoya, Willie Cole, vanessa german, Mohamad Hafez, Dorothea Lange, Titus Kaphar, Cannupa Hanska Luger, Faith Ringgold, Ben Shahn, Roger Shimomura, Jaune Quick-to-See Sm...
RED HOOK ? NEW YORK ? read this email sent by KENTLER INTERNATIONAL DRAWING SPACE Robert Aitchison STATE OF EMERGENCY: PORTRAITS FROM THE PANDEMIC November 6 - December 12, 2021 Join us for the Opening Reception: Saturday, November 6, 4-6pm Artist's Talk: December 5, 4pm (Proof of Vaccine & Masks Required, observing pandemic precautions) Kentler International Drawing Space is pleased to present State of Emergency: Portraits from the Pandemic, a solo exhibition of new work on paper by Brooklyn-based artist Robert Aitchison. This body of work explores complex notions of presence, engagement and isolation in the era of Covid. Beginning in March 2020, Aitchison utilized video chat platforms to make hundreds of sketches of close friends. The resulting portrait series is at once vibrant and introspective. His subjects are jarringly foregrounded and many present with duplicate or askew facial features. These distortions mirror the glitchy, interrupted and delayed experienc...
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