“The new managers of the struggling Seaport Museum New York have committed to reopen the 19th-century print shop Bowne & Co. Stationers, advocates said this week … at a closed-door meeting on Tuesday, the leaders of the Museum of the City of New York, which is taking over the Seaport Museum, promised to “reactivate” Bowne & Co.” [DNAinfo]
Today marks the fifth consecutive day of the Occupy Wall Street movement, a grassroots protests of over 2,000 people from all walks of life who have descended on Wall Street to speak out against corporate America’s plundering of the lower and middle classes. In addition to organized demonstrations and rallies twice a day at the opening and closing bell of the New York Stock Exchange, visuals have also played an important role in catalyzing the movement. But one artist at the protest today, Jon McCarthy, says that more artists need to come out.
If the stately looking Statens Museum for Kunst, or National Gallery of Denmark, has a fantastic (yet, small) early 20th C. French collection featuring a stunning Matisse room, it currently lacks few signs that contemporary art has an important role in its collection or mission. History stops abruptly in the middle part of last century and until the institution finishes off its contemporary wing that’s not likely to change. Though contemporary art visitors to the museum are left with little to see in the high temple of Danish art, fortunately all is not lost. Local artist FOS has been given the opportunity to wrestle with the difficult space that buffers the new and old buildings of the art museum.
Contemporary art visitors to the museum are left with little to see in the high temple of Danish art but fortunately all is not lost. Local artist FOS has been given the opportunity to wrestle with the difficult space that buffers the new and old buildings of the art museum.
In 2011, India moved from the classification of “developing” country to that of being a “newly industrialized.” This upgrade was made along Mexico, South Africa, Thailand, Turkey, Philippines, Brazil and China, all of which have economies showing promise towards becoming “developed.” Perhaps as a salute to this increase of stature, India had its first pavilion at the 2011 Venice Biennale with an exhibition curated by Ranjit Hoskote aptly titled, Everyone Agrees: It’s About to Explode.
PROVIDENCE, RI — Cai Guo-Qiang’s Move Along, Nothing to See Here opened last Friday at the Cohen Gallery at Brown University in Rhode Island. The inaugural event for Brown’s “Year of China,” the exhibit includes work common to Cai’s oeuvre. The main sculptural work of the show, “Moving Along Nothing to See Here” (2006), has a title comprised of a phrase hear commonly used by policemen at a crime scene. It consists of two life-sized crocodiles, supported by wooden stills, their jaws wide open and writhing in pain.