Activists chained themselves to the cast-iron lampposts of Chris Burden’s outdoor sculpture installation “Urban Light” (2008) and covered themselves in fake blood.
The new attraction includes a copy of Burden’s “Urban Light” called “Love Light,” a version of Kusama’s “Obliteration Room” dubbed “Love Lock,” and a whole section called “Museum of Ice Cream.”
Perhaps most surprising about the new film Burden, directed by Timothy Marrinan and Richard Dewey and screening at the Tribeca Film Festival, is its depiction of artist Chris Burden’s dramatic transformation from a rabble-rousing student in the 1970s to a mild-mannered landowner in 2014.
Chris Burden, an artist famous both for his pioneering performance work in the 1970s and the intricate large-scale sculptures he made in the ensuing decades, died early Sunday morning at his home in Topanga Canyon, California.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
WALTHAM, Mass. — Back in 2009, Brandeis University announced that it would close its Rose Art Museum and sell off the entire collection, widely regarded as one of the best holdings of postwar and contemporary art in the country.
PARIS — This is a vision of a universalized eclectic global art in forward motion: a relational aesthetic that seems to hover over many exhibitions in France as a great correctness that cannot be questioned, only tampered with.
A few years ago, China’s traffic jams of epic proportions started to make the news. Traffic on the ring roads in a city like Beijing is on par with, sometimes even worse than, that of Los Angeles’s 405 or New York’s BQE at rush hour. It seems to be an inevitable part of our lives, as this amazing compilation of traffic jams the world over reveals.
What’s most compelling about Chris Burden: Extreme Measures — the Los Angeles-based artist’s first New York retrospective, which has taken over five floors of the New Museum — is what’s not there. Or almost not there.
Perched on a pillar twenty feet tall like a modern incarnation of St. Simon the Stylite, daredevil magician David Blaine was zapped by one million volts of electricity for 72 hours during his circus-like performance at Pier 54 aptly titled “Electrified, One Million Volts Always On.”
BERKELEY, California — On BlueServo, webcams are streaming live webcams stationed at potential border-crossing hotspots on the line between Texas and Mexico. Anyone in the world can go to BlueServo and guard the border virtually, 365 days a year and 24 hours a day. If a viewer was to spot suspicious activity they can report it to the local authorities, all without leaving the comfort of their keyboard. In my mind, BlueServo connected immediately to the work of NYU professor Wafaa Bilal.
Chris Burden’s frenetic installation at LACMA “refers specifically to Los Angeles … of the future” but it’s more reminiscent of fast-growing megacities, like Chongqing and Dubai.