‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals.
WALTHAM, Mass. — To say that painting is having a moment would be ironic – since, despite periodic claims regarding its demise or return, it clearly never went very far away.
Not 10 minutes into the pilot episode of Fox’s TV drama Empire, Kehinde Wiley’s bright yellow portrait “Prince Albert, Prince Consort of Queen Victoria” looms into view above the dining room table where the men of the Lyon family are gathered.
A few months after having been roundly trounced for The Forever Now: Painting in an Atemporal World, its attempt to assess the current state of painting, the Museum of Modern Art opened a reinstallation of its contemporary collection on the same day as its Björk fiasco.
BLOOMFIELD HILLS, Mich. — The centuries-old tradition of the Wunderkammer is enjoying a resurgence of late, with cabinets of curiosities on display from the Chazen Museum of Art to Gagosian Gallery, and vitrine artists like Edmund de Waal and Joseph Beuys being hailed as champions of the medium.
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.
Within and beyond the American artworld, the politics of race have assumed a central position this year with a degree of ugliness that feels particularly virulent.
As if his museum-filling Whitney retrospective weren’t enough, Jeff Koons currently has a massive sculpture on view at Rockefeller Center. “Split-Rocker” is comprised of two halves, one the recreated head of a toy pony rocker, the other the head of a toy dinosaur rocker.
Where are all the sugar-seeking pests at Kara Walker’s multi-ton installation made of the stuff, “A Subtlety”? We investigated this aspect of the show at the soon-to-be leveled Domino Sugar Factory a few weeks ago.
If you enjoy obvious jokes about the way people interact with ubiquitous technological features, you’ll love sugarselfie.us, a new website that fights bad taste with worse.
Kara Walker’s 75-foot-long, 35-foot-tall sculpture made of 160,000 pounds of sugar rests in the expansive, soon-to-be-razed Domino Sugar Refinery, surrounded by 15 five-foot-tall statues of boys coated in molasses and brown sugar. Where are all the sugar-seeking pests?
In one of those useful coincidences of the New York art scene, two current exhibitions discuss global commerce and history, labor and money through one peculiar entry point: sugar.