After his death in 1978, Harry Bertoia was interred beneath one of his most impressive sonic works: a 2,000-pound, 10-foot-in-diameter silicon bronze gong.
I am struggling to photograph a tapestry.
Pathmakers: Women in Art, Craft and Design, Midcentury and Today is a brave exhibition currently on view at the Museum of Arts and Design.
Ralph Pucci, a high-end mannequin and furniture designer, has collaborated with a wide range of artists throughout his career, producing unorthodox renditions of mannequins since the 1970s.
NYC Makers: The MAD Biennial is the closest thing you’ll find to a crowd-sourced exhibition on view in New York right now — perhaps anywhere.
Although we have yet to undertake a formal taxonomy of bad press releases, here at Hyperallergic we have discerned different kinds.
Spectacle excels at making the most of whatever its members put their eclectic, seemingly tireless minds to. Seven days a week the volunteer-made, volunteer-run, 30-seat screening space in Williamsburg, Brooklyn, hustles out a menagerie of films — rare, radical, forgotten, misbegotten, offbeat, and controversial — which they charge $5 to see.
With the Whitney Biennial, the withdrawal of the Yams Collective, and questions of race fresh in our minds, the Museum of Arts and Design opens its new biennial, NYC Makers, tomorrow. Included is a project that offers another stark reminder of the imbalanced demographics of the art world: Census Report, produced by the collective BFAMFAPhD.
Good or bad, every experiment starts with a hypothesis. For Dutch-born designer Jan Habraken with New York-based design studio FormNation, it was the question: “What if we apply the science of genetic engineering to an inanimate object?”
Edinburgh-based artist Jessica Harrison transforms the collectible ceramic ladies that populate grandmothers’ china cabinets into spectacles of gore. These elegant abominations are now on view at the Museum of Arts and Design in New York as part of Body & Soul: New International Ceramics, the first of a series of exhibitions highlighting different materials to mark the museum’s fifth year at its Columbus Circle home.
If you only know Crispin Hellion Glover as a quirky actor with the gift of an unsettling gaze, then you’re missing out on the major focus of his career as the producer of experimental films that lunge voraciously into taboos. And it’s easy to miss, as the only way to see these films is when he screens them himself. This past weekend, Glover stopped by the Museum of Arts and Design for a two-night installment of his slideshows and films, and later this month he’ll return to IFC.
Camille Paglia, who famously polarized artists and intellectuals throughout the 1990s, is back. In her new book, Glittering Images, her mission is to bring closure to an era she feels is full of art-world stunts and isolating pretension, in exchange for a return to art-world appreciation among a general audience and beyond. For her, museums are the locus of this new evolution, and we could not agree more. If museums are the way by which people experience and understand art, and if we want to change that experience or simply get more people involved in it, we must begin by examining the interface.