Imagine a gallerist bringing new art works into the gallery. She pulls her truck up to the gallery curbside, gets out, and starts taking some paintings out of the truck bed. She takes one out just as she realizes that she hasn’t unlocked the gallery doors. So, she places the artwork on the curb and sets off to unlock the gallery. This person has intentionally placed art in the street. Is it street art? Obviously not. So what makes something street art if not the art’s being intentionally placed in the street? It might even seem that street art needn’t be literally in the street at all, so long as one accepts that Blu’s MUTO and similar works are street art — as a digital video it has no literal or direct connection to the street. Street artistic status must hinge on something else. So what is it?
The Golden Door is the anachronistic nickname of Jersey City, which acquired the moniker at the turn of the 20th century when it was a magnet for newly arrived Ellis Island immigrants. Today, it is the name of a new temporary mini golf course-cum-art exhibition organized by the Jersey City Museum as an innovative new summer fundraising idea that explores the idea of immigration and interactive “art.”
The BP Deepwater oil spill disaster has sparked a tremendous amount of creative outrage, some of which we’ve been exploring on Hyperallergic LABS all week. In addition to various protests and performances, not to mention some satirical Twitter feeds, there have been numerous attempts to critically appropriate BP’s logo.
There is a constant dual narrative with Warhol between reality and fantasy, the physical and the mechanical, the life lived and the life watched on a screen, and Warhol, in the end, found it all to be one in the same. This exhibit of Warhol’s late work, Andy Warhol: The Last Decade, is no exception to the contradictions and in fact reveals just about as much as it obscures.
This week on Work of Art, it’s the Garbage Project! Our artists have to make a sculpture … out of toss-offs. Wait, hasn’t this been done before? The same has been done on Project Runway and not to mention by John Chamberlain and countless others, but thankfully not Top Chef.
Last night marked a watershed moment for the art world: the first time that contemporary art was inducted in the burgeoning canon of reality TV. But the big question is: will it succeed in picking an artist the art world will accept or will the show turn out to be more of a Dadaist farce, too nonsensical to have any relevance?
After a decade epitomized by airbrushed photographs that cast the face as a smooth, even and perfect plane of color, these artists are rebelling with wickedly raw and vibrantly colored skin. It was a welcome surprise … Matisse is back from the dead and training artists at an underground tattoo parlor in Bushwick.
What made the 2010 Bushwick Open Studios so phenomenal was the chance to stomp through hundreds of studios and draw connections. I was surprised by how various artists who have probably never met each other are all re-envisioning the Old Masters with a playful and lighthearted streak.
Senior editor of Antiwar.com and editor of BushwickBK Jeremy Sapienza unpacks some of the history of artist Marina Abramović to understand the power of her recent performance.
The last day of the Marina Abramović’s “The Artist Is Present” at MoMA was marked by a frenzy of activity both IRL and online. The veteran performance artist has proven that her art form has come of age and it can hypnotize a whole city — and art world — into believing or “unbelieving” that she’s the biggest game in town.
This past Thursday, sculptor John Powers presented excerpts of his ambitious project “Star Wars and Modernism: An Artist Commentary.” Accompanied by composer R. Luke Dubois and Columbia Art History Fellow and Triple Canopy senior editor Colby Chamberlain, who provided editorial assistance, the film is an original and provocative look at Star Wars not merely as a Hollywood blockbuster and mythic narrative, but as an art object.
Writing for Slate, critic Ben David investigates the possibility that Banksy’s Exit Through the Gift Shop may have been a “poisoned valentine” to the global movement known as Street Art.