Robert Irwin has been a favorite of mine for some time now. His work helped to pioneer the 1960s California Light and Space movement, and it is often beautiful to experience in person. Having never seen his well-known window installation “1° 2° 3° 4°,” which was originally installed at the Museum of Contemporary Art San Diego, I was wanted to stop by his show at Pace Gallery in midtown Manhattan to see the piece revisited.
Walking through a Duane Reade the other day looking for a snack, I stumbled across this Keith Haring Baby Bib by Bumkins.
I stopped by the Museum of Art and Design to see the public section of the show Swept Away taking place on the sidewalks surrounding the museum with Tibetan mandala-esque street art by Joe Mangrum.
“Future Self” by Random International is a jaw-droppingly beautiful performance of dance, light and music.
Lolcats stopped by the office today and asked the staff if they could write a review of a show. It was Friday and we thought … why not!?
We’ve all heard the complaints about income inequality. And although how to actually solve the economic crisis is up for debate, we all agree that it’s a hard time to make a living. This is true for everyone, not just artists, but perhaps artists can lead the way in offering real alternatives to our flawed economic system. Artists, as creative people already faced with an extremely competitive market where success is hard won, are in a unique position to confront the issues of income distribution.
An online artwork by Emilio Gomariz makes you self conscious about enjoying the web.
Do children’s toys breed a culture of violence and war? This was one of the many questions you’re left to ponder when reading Miniscule Blue Helmets on a Massive Quest by Dutch artist Pierre Derks.
Renowned conservator Glenn Wharton recently released a new book, The Painted King: Art, Activism and Authenticity in Hawai’i, which he spoke about last week at New York University. Wharton’s book provides a captivating account of his years spent with the well-known statue of the 19th C. Hawai’ian King Kamehameha I and the surrounding community that became involved with it’s conservation. Although art conservation has historically focused its attention on the chemistry and original artistic intent of artworks, Wharton works to bring a social aspect into the practice.
Zimoun is a Swiss sound and kinetic artist whose installations incorporate hundreds of everyday objects and simple movements to create a foreign experience for the viewer. He asks questions like, “What are the aesthetic and tonal qualities of cardboard in motion?” Traveling recently to see Volume, his first solo show in New York, I was oddly excited to find out.
On Wednesday I attended “Social Media Week Edition: Social Media Art,” the newest in a series of Arts, Culture and Technology Meetups. These meetups, organized by Julia Kaganskiy, global editor for The Creators Project and co-director of Blue Box Gallery, are all about the potential for technology in and out of the art world.
While learning more about public art, I began to notice a startling trend; it appears that the public possesses an odd affinity toward public works. Aside from the common images of the Statue of Liberty or the popular monuments in Washington, DC, I found image after image of art lovers groping, humping, licking and kissing public statues in a trend I have come to refer to as Statue Porn.