Narcotic-riffing duo Jonah Freeman and Justin Lowe have been at it again, creating an immersive drug den abandoned to time and decay. After staging their faux meth labs in Marfa, Miami, and New York, they’ve moved onto a fictional narcotic, Marasa, and an invented cult figure, Dr. Arthur Cook. Like previous projects, this new installation, Bright White Underground, is a serious gesamtkunstwerk, man.
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Artist Maurizio Cattelan has unveiled his latest public art project in Milan. It’s titled “L.O.V.E.” (2010), it’s 13 ft tall, it’s made of marble, it’s a hand with a giant middle finger, and it’s placed in front of the Italian Stock Exchange. Poetic, right? Meh.
Presented by Film Society of Lincoln Center & New York Film Festival
Curated by Mark McElhatten and Gavin Smith.
View the entire line up
For its 14th year, Views offers an expanded edition, presenting four nights of New York and world premieres from the frontiers of innovative moving image making. Highlights include Robert Beavers’s The Suppliant, James Benning’s Ruhr, Nathaniel Dorsky’s Pastourelle, a restoration of Manoel de Oliveira’s Rite of Spring, and Phil Solomon’s three-screen American Falls.
Based on many of the big museums in the United States — the ones with the kind of expansive intercontinental collections that span “more than two million works of art” across “five thousand years of world culture” from prehistory to Damien Hirst — the all-purpose art museum location of choice seems to be a park. Why?
If “Flickr Is the New Museum” (2008) what happens to the way we interpret art? Understand art? Live with art? We have the right and the capability to put little JPGs together that seem to make sense to us for whatever reason.
Half the time I spend dumbfounded and in love with it has me asking myself whether or not it’s real, but San Francisco is still the easiest city in the world to have a crush on.
Is contemporary art becoming like art house cinema and its web of global funders and interests? Any healthy art machine requires a good circulatory system. It’s all well and good to make a work of art, but just as important is the machinery that connects the work of art to its intended or unintended audience — and, by extension, a marketplace.
Molly Norris has been told by the FBI that she needs to change her name and go into hiding because of a cartoon she drew making fun of Comedy Central for censoring South Park. I don’t know what to do about it, but I’m not going to respond by making a cartoon ridiculing Muslims. Maybe I’ll ridicule terrorists and their sponsors, but they just don’t listen to me. Back in May, Hrag wrote about Molly Norris and the stir it caused. I see I clicked Like, and its a good article, but I remember being bothered by Everybody Draw Mohammed Day, and not wanting to participate in it.
Amanda Hughen and Roger Hiorns are two artists who look to the relationship between industrial and anxiety production as source material for their artistic practice. Hughen and Hiorns also serve as a study in contrasts, approaching the problem from different coasts, with different concepts, and in different traditions.
Aiko’s recent exhibition at Andrew James Fine Art in Shanghai was actually made entirely in that Chinese city while she participated in the gallery’s residency program. This locality lends the work a different significance, a home-grown quality that’s reflected in the mix-in of Shanghai street signs and graphic elements. What we see is not so much a heroic, tragic artist struggling to produce a masterpiece, but a practicing artist reflecting the time and the place she occupies.
It’s impossible to escape the heated rhetoric around Park51 in lower Manhattan. And now Adam Wissing, Kenny Komer, and Boris Rasin, who have been making a name for themselves for their clever and in-your-face street interventions, have joined the very public fray with a poster campaign that invites people on the street to voice their opinions in writing. We caught up with them to ask about their latest project.