Real Worlds invites viewers to consider photography not just as documentation of myriad moments but as a means to more deeply understand lives and interpersonal relationships in Western cities.
The exhibition diane arbus: in the beginning gathers images the photographer shot between 1956 and 1962, when she started using the distinctive Rolleiflex camera with which she captured her most famous photos.
Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”
In Silent Dialogues, art historian Alexander Nemerov, son of former US Poet Laureate Howard Nemerov and nephew of Diane Arbus, traces his father’s evolving attitudes toward photography and his sister’s work in particular.
The current show at Gagosian, Portraits of America: Diane Arbus/Cady Noland is in a small gallery reachable only by walking into and through the Gagosian’s Upper East Side gift shop. In order to see the exhibition, to enter the gallery, one must first pass through this physical barrier.
“I fink u freeky and I like you a lot” is the chorus line of Die Antwoord’s new rap/rave hit. It also sums up the way many people feel about Roger Ballen’s graphic photographs. These images have provided inspiration for many of Die Antwoord’s outlandish costumes and video backdrops, featuring prominently in the first hit single “Enter the Ninja.” Now they make up the set for the duo’s new “I Fink U Freeky” single video.
It’s not often that we get to be present for a posthumous lecture given by the deceased being honored. An Evening with Diane Arbus and Marvin Israel, presented at the School of Visual Arts in collaboration with the Aperture Foundation, was just that. Out of the pure darkness of a hushed theater came the crackling sound of Diane Arbus’ voice, saying cheerfully as a slide machine started to whirr, “Let me show you some pictures.” What proceeded was a shy, stumbling, incredibly humorous and deeply meaningful lecture by the infamous and famous artist herself. On the 40th anniversary of the artist’s suicide in the summer of 1971, this presentation is a recording of a lecture Arbus gave about her artwork, interests and motivations as she saw them in 1970
The Art Show has been hosted by the Art Dealers Association of America (ADAA) for the last 23 years, reigning supreme as the longest running national art fair. The ADAA consists of 175 galleries but only seventy exhibitors enrolled this year, excluding stunners like Andrea Rosen, Betty Cunningham, PPOW and Gavin Brown. A large majority of the participants are located uptown between 50th Street and 90th Street. The generalized content (“cutting-edge, 21st century works” and “museum quality pieces from the 19th and 20th centuries”) and my fears of dated academia prepped me for the deflated viewing that was The Art Show. The ADAA’s Executive Director spoke to the “calm and intimate atmosphere” of The Art Show. Although the Park Avenue Armory’s soaring “balloon shed” construction is partially responsible, the cavalcade of elderly patrons weren’t exactly rambunctious. The air-kisses exchanged between crotchety senior citizens summoned a swinger’s club way past its prime.
If the contemporary side of the Armory is flashier with its glamor and energy, this is the tried and true historical wing that presents a more reserved modernist face but not one without a lot of seduction. Here are some of my picks for what to see if you visit.