If you couldn’t make it to the Thursday, May 9 After Hours event featuring performer Nomi Ruiz then do not fear, we have a video that will give you a taste of what you may have missed.
An exhausted-sounding Peter Cafiero, outgoing President of Cooper Union’s Alumni Association, took to the Rose Auditorium stage on Monday night to introduce the annual Alumni Council Forum, noting that “hopefully this will continue the process of better connecting everyone, and build a community which we of course desperately need to keep doing.” Despite the future promise embodied by Cafiero’s recently-elected successor, Kevin Slavin, desperation is a good starting point as we enter the third week of Free Cooper Union’s occupation of President Jamshed Bharucha’s office.
In looking to create a visual of the word “failure,” the Archive of Failure seems almost designed to fail. The project, funded by the Arts Council’s Grants for The Arts in the United Kingdom, is crowdsourcing an online and print narrative of anyone’s idea of what the word failure is, with “no curating, no overarching ‘quality control,’ and no selection process.”
Artist and curator SOL ‘SAX deconstructs the mask as an agent of social change in this tight and pithy show at IMC Lab + Gallery. Masks and costumes, an ageless, transcultural phenomena originate as play in early childhood and continue as ritual all the way up to, and beyond, death.
For meditations on time, there are few places more frenetic with marking the seconds than Grand Central Terminal. The hundreds of thousands of people that pass through the station each day create a constant motion around the gold clock that sits calmly ticking away the moments in the center of the Grand Concourse. It’s around this idea that On Time / Grand Central at 100 was organized by MTA Arts for Transit and Urban Design.
CHICAGO — Artists from Denmark, Arkansas, Idaho, New York, and Pennsylvania take part in our continuing series on artist studios.
When Larry Millard showed up in Coney Island in 1957, he was looking for work as a sign painter. His work was so impressive he was hired to do murals across the amusement area, particularly in the recently demolished Playland Arcade. Yet just as suddenly as he appeared, he vanished in 1960 and was never heard from again.
HONG KONG — I fell in love with Jean Cocteau when I was 19. I spent nights taking photographs of his epic 1930 film The Blood of a Poet frame by frame. The infatuation was similar to one I had with Picasso, whose paintings I copied obsessively, determined to learn the language of the man who made “Guernica.” In both cases, my heart was eventually broken. First, I learned Picasso used women like he used his paintbrushes. Then it transpired that Cocteau was a Nazi sympathizer. It was hard to know where I stood with both artists afterwards.