We love NYC and LA and all the art they have to offer, but we know they’re only two towns of many across the country mounting great exhibitions large and small.
“I’m interested in coming to Detroit — providing you this opportunity to be up close and personal with the work in this static format, but then also being able to get you into this performative experience.”
The myth-maker becomes the myth in 20,000 Days on Earth, a fun-house foray through memory, music, life, and creativity.
“I began thinking more about myself as an artist with a civic responsibility,” said artist Nick Cave to Mass MoCA curator Denise Markonish during a conversation last Friday evening at Jack Shainman Gallery.
KINDERHOOK, NY — If Jack Shainman wanted to make a splash in upstate New York with his new space The School, then he achieved that goal, as last Saturday’s opening brought roughly 800 locals and art worlders together in a transformed schoolhouse in the town of 8,500.
I first learned about Nick Cave’s work in an undergraduate puppetry class. Puppetry, like architecture and some other disciplines, is the synthesis of a myriad of techniques both artistic and mechanical, attracting sculptors, dancers, and engineers in equal number. Similarly, Cave’s 30-strong herd of horses that visited Grand Central last week in his piece HEARD•NY, presented by MTA Arts for Transit and Creative Time, as well as the “Soundsuits” for which he gained initial recognition are genre-bending works of art: they are visual and performative wonders as well as feats of construction. Cave is the director of the Graduate Fashion Program at the School of the Art Institute of Chicago, so while he may be an unwitting puppeteer, he is certainly no stranger to the intersections of beauty, functionality, and craftsmanship.
Before Nick Cave’s “Heard•NY” galloped off into its first performance of its week-long installation in Grand Central Terminal, the soundsuit artist explained that he wanted to “produce a piece that brought us back to a dream state.” The 60 dancers from the Alvin Ailey School definitely gave the 30 fringed horse costumes a strange sort of life, as they changed into the horses and then out again into a frenzied dance of movement.
Grand Central hosts 21,600,000 visitors annually, has been the site of numerous flash mobs, and now even has its own Apple store, but the venerable train station has never seen anything like this. Artist and performer Nick Cave has created 30 of his signature Soundsuits in the shape of horses. The array of equines will take up residency in Grand Central from March 25 to 31.
Painting, sculpture and drawing have dominated the means of artistic expression since the dawn of time. Of course now everything in between has been used as a medium, but since the big three have remained a staple, it’s been incredible to see a recent resurgence of using fashion objects as the raw materials for art.
CHICAGO — Is Chicago an artistic center on the same level as New York, London or LA? Is there an identifiable “Chicago school,” in the same way as the school of Paris or the post-war art movements in Manhattan? Does Chicago produce “famous” artists and artists worthy of greater fame?
The Museum of Art and Design, New York’s The Global Africa Project makes an audacious claim: to present the art, design, architecture, and craft of the contemporary African diaspora. Given that Africa is the world’s second largest continent, with a population of over one billion dispersed among 54 distinct countries—never mind the millions of people of African descent living elsewhere—any attempt to survey its production and influence seems impossible. However, the curators — Dr. Lowery Stokes Sims, formerly director of the Studio Museum in Harlem and currently the Charles Bronfman Curator at the Museum of Arts and Design, and Dr. Leslie King-Hammond, founding director of the Center for Race and Culture at Maryland Institute College of Art — have embraced the unwieldiness of the notion of “Africa,” creating an exhibition that intentionally raises more questions than it answers.
There’s no point in giving you a “review” of the mothership of art fairs in Miami, Art Basel Miami Beach, so I thought a photo essay with some observations were more appropriate.
I admit that I got a little bored after three hours of wandering around. I found myself seeing the same thing and getting the same numbness I get during marathon holiday shopping trips or walks through ancient souks … there’s only so much merchandise you can see in one stop.
It was still refreshing to see some galleries display the prices of their wares freely, and examples of excellent abstraction by names mostly absent from the art history survey books, but I was most shocked to discover what must be the most awful Basquiat I have even seen in my life.