This video was produced for MoMA’s ninth installment of their always interesting Performance Exhibition Series, which features Jennifer Allora and Guillermo Calzadilla, more commonly referred to as Allora & Calzadilla, and the staging of their haunting performance “Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano” (2008).
For the piece, the artists carved a hole in the center of a grand piano and arrange for pianist to play the Fourth Movement of Beethoven’s Ninth Symphony, usually referred to as “Ode to Joy” while wandering the gallery.
Since life often imitates art, I’m personally waiting till some busker attempts to pull this off in one of New York’s many public spaces … ahem, I suggest Union Square.
The duo will be representing the United States during the next Venice Biennale in 2011.
Some museums are opting for new language to describe the preserved individuals in their collections who were once living humans.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
Located in Des Moines, Iowa, this residency for emerging and established artists includes studio and living space, a $1,000 monthly stipend, and more.
As art history buffs on the app have pointed out, both movements attribute meaning to the meaningless.
Multiple posts about the film have been taken down on Twitter, many of them following the government’s removal requests.
This week, blonde hair supremacy, Salman Rushdie’s new novel, and why do boutique shops all look the same?
Fayneese Miller is under fire after the school failed to renew the contract of an adjunct who showed artworks depicting the Muslim Prophet Muhammad.
Fully-funded teaching assistantships are standard for MFA students at the top-ranked, flagship research university in the state of New York.
Hundreds of visitors were evacuated from the Incan site over the weekend.
The artist’s works resonate in West Texas, where the story of dehumanized and exploited migrant laborers is tangible and ever-present.
A posthumous show of Price’s work is curated by James Hart of Phil Space, the self-proclaimed “gallerist of death.”
She has raised generations of Bay Area artists and changed the local landscape with her public artworks, colleagues tell Hyperallergic.