Doomocracy, artist Pedro Reyes’s new project for Creative Time, is part haunted house and part immersive theater.
One hundred people gathered to adapt Zoe Leonard’s 1992 text piece “I want a president…” for 2016.
Through the castellated gates at the Sands St. entrance to the Brooklyn Navy Yard, I marched along a line of pointing volunteers.
For over a decade, helicopter pilots practiced their landings on the deck of the US Navy’s Baylander IX-514. Today, the now decommissioned and privately owned ship is serving as home base to flying creatures of another kind: pigeons.
VENICE — As folks streamed into the dimmed theater and escaped the Venetian heat, I felt a sense of anticipation. Creative Time, which has been showcasing its support of socially engaged art practices for decades, made its way into the Venice Biennale’s central exhibition All the World’s Futures, organized by Okwui Enwezor.
This evening the Brooklyn Museum revealed that Anne Pasternak will succeed Arnold Lehman as the institution’s director.
As the Central Park Conservancy celebrates its 35th year, it’s hard to imagine the decrepit shape much of the park was in when they started revitalization efforts in 1980. As part of its anniversary celebrations, the Conservancy partnered with Creative Time.
In the glare of the afternoon sun and the LED screens of Times Square, an unassuming woman with thick glasses and a rolling wave of gray hair stood on a soapbox and spoke, as another woman held a white dove over her shoulder.
Editor’s note: For roughly three years, Hyperallergic has been covering the Boycott, Divestment and Sanctions (BDS) movement and how it manifests in the art world, including recently during the 31st São Paulo Biennial. The following report outlines recent developments in regards to BDS and the positions of various art-related entities.
Between the proliferation of galleries in Bushwick and, to a lesser extent, Greenpoint, the small cadre of Dumbo galleries sticking it out, longtime heavyweights including the Brooklyn Museum and BRIC mounting ambitious shows, and Creative Time parachuting Kara Walker’s sugar sphinx into the Domino Sugar Factory, it’s been an exceptionally strong year for art in Brooklyn.
In performance, as in history, there’s a lot that gets lost: layers of meaning and nuance too complex to carry in a single story. Investigating Simone Leigh’s and Xenobia Bailey’s projects for funkgodjazz&medicine: Black Radical Brooklyn, produced by Creative Time and the Weeksville Heritage Center, I was struck by this loss as an informative process.
The energetic, jumbled print design of funkgodjazz&medicine: Black Radical Brooklyn, an exhibition by Creative Time and the Weeksville Heritage Center, strikes a bright, funkedelic chord in the mind’s eye. This is jazz; this is the casting off of the master’s linguistic tools; this is a celebration of black selfhood.