#Christopher Y. Lew

[rad-roche]

chit-chattin about some books i've read (or reread) recently. not a review, and i'll refrain from big spoilers in case you happen to be interested in reading any, but just a general overview and some thoughts ( ᐛ )و

been making an effort to read more lately. that thing happened that comes with adulthood, you know, things take priority, life happens, as well as the SocMed's curse i'm sure we all share; books take time, and effort, and is competing with a skinner box. i've come up with a pretty good system, which is taking me e-reader somewhere nice, or at least into a different room, away from my desktop, but not getting too hung up if i do get distracted. i'll dig out my wireless headphones, put on an album or lofi, then throw my phone the maximum distance away before it disconnects. i make a point not to make time to do it every day, like a set hour, because i know how my brain works and if i feel like i 'have' to do it i'll resent it. it's somehow much easier for me to think, independently, 'oh yeah, i've got a book to read' every single day rather than planning to do it. this is a fool's system. i do not recommend structuring anything like this.

in no particular order;

negative space - b.r yeager: i really loved this! there are a lot of 'sad kids roam around on bikes with Horrors Occurring' books, but this is very contemporary and has a very specific sort of late 10s malaise. teenagers are committing suicide en masse in a dying suburban town, and all there is to do is drink, smoke and see who comes up next so you can take a picture and talk about it on a specially made gawking message board, and that's before the hallucinogen that lets you see into another reality. explains very little and that just makes it better, don't worry about things making sense the first time through. strongly recommend if you like your books to make you vomit

the thin man - dashiell hammett: nick and nora charles. need i say anything. is there a single thing i need to say. it's fucking dashiell hammett. it's dashiell hammett writing nick and nora charles. one trillion out of ten. nora. nora fucking charles is here.

archer in jeopardy (the zebra-striped hearse, the instant enemy, the doomsters) - ross macdonald: three book omnibus from another of the Big Three (chandler, hammett, macdonald). they're all fantastic. they don't quite have the poetic turns that chandler does but also, comparing anybody to raymond chandler on turns of phrase is criminal. set in a time period you don't see so much, the transition from the 50s to 60s. a little old-man-yells-at-cloud-y about the youth, but you're going to struggle to find a noir writer who approaches his subjects with such empathy. lew archer is a kind, open-hearted man, and he suffers hugely for it. i know a significant amount of you are here for fallout stuff, so i think this is a fair comparison; nick valentine owes a lot to how lew archer is written. if you're looking to get into the genre and need a reference point, these are probably the books you should start with

mass effect revelation - gave it a whirl, couldn't stick with it. might try again later, i really like anderson as a character and i'm big into ME.

quantum devil saga; avatar tuner - yu godai, kevin frane; it's okay! i enjoyed it, but i'm super into the game it's expanding on. supplemental material, you know. i wouldn't read it by itself

body scout - lincoln michel; neo-noir set in the future where corporations run amok and pump athletes so full of experimental drugs that they turn to chunky soup on the field. i appreciate how batshit weird it gets, it's very confidently written. i finished it a month ago and have thought about it every day since, it's very up my alley, themes and such that i like and explore. you'd probably like this if you like dmt.

dishonored; the corroded man - adam christopher; an interesting read in that it takes the incredible setting of dishonored and somehow makes it tedious. didn't like it

devil house - john darnielle: now here's a fuckin tome and a half. a (fictional) true crime writer digs into an occult double-murder. but it's not about that. well it is. don't let the cover fool you, it's not a horror. but it kind of is? whatever it is, it's worthwhile. really dense, good if you want to get your teeth into some Big Questions. you'll spend the first part wondering when it will pick up speed, then you'll be screaming for it to stop

pictures of sea slugs; various sea slugs - not a book but something i've been looking at a lot lately. i think they're very cute. i love their little frills

i mean my god

[tigerstrikesasteroidnetwork]

NY / Eusung Lee: Epitaphs

Eusung Lee: Epitaphs October 21, 2023 – November 19, 2023  Opening Reception: October 21, Saturday 6-8PM  Special Gallery Hours: Wed - Sun 1-6pm

Tiger Strikes Asteroid New York, in collaboration with DOOSAN Art Center, is thrilled to present Epitaphs, the inaugural solo exhibition in New York by the critically acclaimed South Korean sculptor Eusung Lee.  

This exhibition is a part of DOOSAN International Program, designed to expand the global reach of contemporary Korean art through partnerships with Tiger Strikes Asteroid New York. 

In Epitaphs, Lee will showcase a series of sculptures and wall-mounted reliefs that evoke a strong sense of bodily presence and narrative possibilities. 

In today's rapidly digitizing world, where the boundary between the virtual and the tangible often blurs, Lee remains dedicated to the richness of physical space and the sensory experiences offered by handcrafted materials. She embraces the classical lineage and tactile qualities inherent to sculpture, seamlessly melding an array of media, including wood, clay, metal, paper, fabric, yarn, and ready-made objects. 

Doodled Kouros (2021), a large wooden panel, alludes to the iconic Ancient Greek sculptures of nude male youths. Lee stumbled upon the slab of wood in a carpenter's shop where it was originally intended to become a table. Recognizing its latent potential, Lee worked with the panel's inherent characteristics and contours, inscribing the wood grain with marks that alternated between random and intricate. Her carvings included low relief coffee cups, butterflies, and flowering plants—motifs that recur throughout her work and are both universally familiar and deeply personal. 

Colloquial Falling (2021-2023) represents a fusion of intersecting forms, reminiscent of both butterflies and human spines. Like much of Lee’s oeuvre, this sculpture engages in an intricate interplay between brutality and care. Delicate insect forms emerge from roughly modeled aluminum, carefully cloaked in knit wool. Within this juxtaposition of warmth and cold, the human and the otherworldly coexist in an intuitively balanced composition. 

Pierce, Jane (2019) features an oversized, wall-mounted wooden ear meticulously punctuated by an array of metal earrings and hoops. The name 'Jane' alludes to both the artist's elder sister, who emigrated to the United States long ago, and the enigmatic “Jane Doe”—the term given to an unidentified woman. The ear's form is based on Lee’s fascination with her older sister's pierced ears. Piercing was a rarity in South Korea at the time and became a source of fascination for the artist, symbolizing the unfamiliar, exotic, and dangerous facets of American culture. The ear, while serving as a monument to her sister, also represents the artist as a listener—open to new possibilities and eager to connect. 

Eusung Lee (b. 1989) is a visual artist currently living and working in Seoul, South Korea. She holds a BFA from Hongik University and an MFA from Korean National University of Art. Lee has exhibited her work in many museums and art centers, including Art Sonje Center, Hite Collection, WESS, Art Space Boan, Space Catalog. Lee was also a resident artist at Seoul Metropolitan Nanji Art Studio and was selected as a Chanel x Frieze "Now & Next" artist in 2022 and awarded Emerging Artist of 2023 from Seoul Museum of Art. 

DOOSAN Art Center, based in Seoul and established in 2007, stands as one of South Korea's foremost nonprofit institutions. It actively supports emerging artists and curators through a range of domestic and international programs. In 2023, DOOSAN aims to enhance its global presence by expanding and strengthening its collaborative projects with Tiger Strikes Asteroid New York, The International Studio & Curatorial Program, and Christopher Y. Lew. DOOSAN International Program encompasses both residencies and exhibitions, fostering growth through partnerships with influential local institutions and experts. 

photos by Pratya Jankong

[felixvictorinodonfelix]

Condenados por malos tratos a sus 7 hijos: vivían en condiciones "repugnantes" con 35 perros y no sabían leer ni cómo ducharse

Condenados por malos tratos a sus 7 hijos: vivían en condiciones "repugnantes" con 35 perros y no sabían leer ni cómo ducharse

Una pareja ha sido condenada este lunes a seis años de cárcel por siete cargos de negligencia infantil en Inglaterra. El Tribunal de la Corona de Lewes ha decretado que el matrimonio inglés tenía a sus siete hijos viviendo en condiciones “repugnantes” en una casa que compartían con 35 perros. Los hechos ocurrieron el 14 de junio de 2021, cuando la policía se presentó en la casa de Christopher…

[whitneymuseum]

WATCH: Lyle Ashton Harris is joined by an intergenerational group of artists and writers for a night of conversation and reflection on the occasion of the publication of Today I Shall Judge Nothing That Occurs, a book of Harris’s Ektachrome archive.

Speakers include Gregg Bordowitz, Johanna Burton, Kimberly Drew, Christopher Y. Lew, Catherine Lord, Jason Moran, Robert Reid-Pharr, Mickalene Thomas, and Iké Udé.

[misslacito]

Tiffany & Co. X Whitney Biennial

Tiffany & Co. X Whitney Biennial

Cada vez que se hace una colaboración en moda, se celebra una fiesta. En este caso hablamos de Tiffany & Co. La firma de joyería se ha unido con la artista Whitney Biennial para presentar una colección que saldrá a la venta en nada. El caso es que se trata de una alfombra roja negra en la que tenemos actrices como Julianne Moore y Zosia Mamet. Tuvo lugar en The Whitney Museum of American Art de…

[madforfashiondude]

Culture Watch: Solomon R. Guggenheim Foundation Announces Short List for the 2020 Hugo Boss Prize

Culture Watch: Solomon R. Guggenheim Foundation Announces Short List for the 2020 Hugo Boss Prize

Six artists have been short-listed for the Hugo Boss Prize 2020, the biennial award for significant achievement in contemporary art. The short list is selected by a panel of international curators and critics in recognition of artists whose work is transforming the field. Since its inception in 1996, the prize has consistently functioned as a platform for the most relevant and influential art…

[ghandhy]

Jayson Tatum, un novato diferente. Jayson Christopher Tatum, el novato de los Boston Celtics ha hecho historia en los playoffs  2018 de la NBA,  como el novato con más puntos en playoffs en los últimos 40 años (312), superando en la lista de máximos anotadores de primer año en post temporada a Magic Johnson, Wilt Chamberlain, Jack Sikma y George Mikan y se coloca en el cuarto lugar de una lista de lujo , detrás de Lew Alcindor (después Kareem Abdul-Jabbar), Alvan Adams y Elgin Baylor.

[jacq0003]

2019

1127 - Tqaseem Mqamat El Haram 2016-2019 (Nashazphone)

33EMYBW - Arthropods (SVBKVLT)

Amazondotcom ‎- Mirror River (SUBREAL)

Ana Roxanne ‎- ~ ~ ~ (Not On Label)

Anadol - Uzun Havalar (Pingipung)

Animistic Beliefs - Mindset​:​Reset (SolarOne)

Antwood - Delphi (Planet Mu)

Ariel Kalma & Sarah Davachi - Intemporel (Black Sweat Records)

Astrid Sonne - Cliodynamics (Escho)

Basses Terres - Naked Light (BFDM)

Benjamin Lew - Le Personnage Principal Est Un Peuple Isolé (STROOM)

Bogdan Raczynski - Rave 'Till You Cry (Disciples)

Carla dal Forno - Look Up Sharp (Kallista Records)

Carl Gari & Abdullah Miniawy - The Act of Falling from the 8th Floor (Whities)

Caterina Barbieri - Ecstatic Computation (Editions Mego)

Christoph De Babalon - Hectic Shakes (Alter)

Clara! Y Maoupa - Luna Nueva (Editions Gravats)

Coil - The Gay Man's Guide To Safer Sex +2 (Musique Pour La Danse)

Craig Leon - Anthology of Interplanetary Folk Music Vol. 2: The Canon (Rvng Intl.)

Eartheater - Trinity (Chemical X)

Eiger Drums Propaganda - Eiger Drums Propaganda (Macadam Mambo)

Emiranda - My Face (Yegorka)

Fatima Al Qadiri - Atlantics (Éditions Milan Music)

Free The Robots - Datu (Astral Travels Records)

Félicia Atkinson - The Flower And The Vessel (Shelter Press)

Gavilán Rayna Russom - The Envoy (Ecstatic)

Geins't Naït - Archives 1-3 (Editions Gravats)

Geo Rip - Geo Rip (The Trilogy Tapes)

Gladio - Means To Freedom (L.I.E.S.)

Grischa Lichtenberger - Re: Phgrp (Reworking »Consequences« By Philipp Gropper's Philm) (Raster)

HTRK - Over The Rainbow (Boomkat Editions)

Heith & Weightausend - Stone Lizard (Saucers)

Helm - Chemical Flowers (PAN)

Hiro Kone - A Fossil Begins To Bray (Dais Records)

Howie Lee - Tian Di Bu Ren (Not On Label)

Hüma Utku - Gnosis (Karlrecords)

I Jahbar & Friends - Inna Duppy SKRS Soundclash (Bokeh Versions)

Ilyas Ahmed - Behold Killers (Geographic North)

Jay Glass Dubs - Epitaph

Jenny Hval - The Practice Of Love (Sacred Bones Records)

John T. Gast - 5GTOUR (5 Gate Temple)

Jonnine - Super Natural (Good Morning Tapes)

Jonquera - Formative Dubs (BFDM)

Jung An Tagen - Proxy States (Editions Mega)

Kali Malone - The Sacrificial Code (iDEAL)

Kindohm - Meme Booth (Conditional)

King Doudou - Novinha / Tremendo Bumbum (Les Disques De La Bretagne)

King Midas Sound - Solitude (Cosmo Rhythmatic)

Kinlaw - Drax (Haunter Records)

Klein - Lifetime (ijn inc.)

Kreidler - Flood (Bureau B)

LXV - Payload (Anòmia)

Lake Haze - Glitching Dreams (E-Beamz)

Lingua Ignota - Caligula (Profound Lore Records)

Logos - Fifth Monarchy (Berceuse Heroique)

Loraine James - For You And I (Hyperdub)

Low End Activist - Low End Activism (Sneaker Social Club)

MC Yallah x Debmaster - Kubali (Hakuna Kulala)

Magda Drozd - Songs for Plants (Präsens Editionen)

Mai Mai Mai - Nel Sud (La Tempesta International)

Mappa Mundi - Musaics (Midnight Drive)

Maral - Mahur Club (Astral Plane Recordings)

Maria W Horn - Epistasis (Hallow Ground)

Mark Van Hoen - Utopia Vs Dystopia (Not On Label)

Martina Lussi - Diffusion Is A Force (Latency)

Metta World Peace - Zanclean (Collapsing Market)

Michael O'Shea - Michael O'Shea (Allchival)

Naujawanan Baidar - Volume 2 (Radio Khiyaban)

Nicola Ratti - Continental (Students Of Decay)

Nkisi - Destruction of Power (Collapsing Market)

Novo Line - To Qatsi And Die In LA (Ecstatic)

Orphan Ann - The Practice Of Surrender (Moloton)

Ossia - The Marzahn Versions (Berceuse Heroique)

Peder Mannerfelt - Life Without Friction (Seilscheibenpfeiler)

Pelada - Movimiento Para Cambio (PAN)

Pharmakon - Devour (Sacred Bones Records)

Phew / Oren Ambarchi / Jim O'Rourke ‎- Patience Soup (Black Truffle)

Pinch & Kahn ft. Killas Army - Crossing The Line (Tectonic)

PNL - Deux Frères (QLF Records)

Quirke - Steal A Golden Hail (Whities)

Raime - Planted (RR)

Regno Maggiore - Astroveliero (Gang Of Ducks)

Rian Treanor - ATAXIA (Planet Mu)

Rupert Clervaux - After Masterpieces (Whities)

Sabiwa - DaBa (Chinabot)

Sea Urchin - Tahtib Tehbat (Bokeh Versions)

Sebastian Melmoth - The Dynamics Of Vanity (Artificial Dance)

Shit & Shine - NO NO NO NO LP (OOH-sounds)

Siavash Amini - Serus (Room40)

Slickback - Tomo (Hakuna Kulala)

Sol Oosel - En allégeance à l’inconnaissable – Une étude en chorégraphique pour le flux d’énergie (Umor Rex)

Sote - Parallel Persia (Diagonal)

Tapan & Generation Taragalte - Atlas (Soundway)

TRjj - Music Compilation "12 Dances" (STROOM)

Tomaga & Pierre Bastien - Bandiera Di Carta (Other People)

Tunes Of Negation - Reach The Endless Sea (Cosmo Rhythmatic)

Victor De Roo & Alex Deforce - Nachtdier (Knekelhuis)

WaqWaq Kingdom - Essaka Hoise (Phantom Limb)

Yre Den - Ilk Of Geist (SPA)

XIII - Eocity (Gang of Ducks)

[nyfacurrent]

Introducing | NYSCA/NYFA Artist Fellowship Program Recipients and Finalists

NYFA has awarded $661,000 to 98 New York State artists working in the categories of Architecture/Environmental Structures/Design, Choreography, Music/Sound, Photography, and Playwriting/Screenwriting.

New York Foundation for the Arts (NYFA) has announced the recipients and finalists of the NYSCA/NYFA Artist Fellowship Program, which it has administered for the past 33 years with leadership support from the New York State Council on the Arts (NYSCA). The organization has awarded a total of $661,000 to 98 artists (including three collaborations) whose ages range from 25-76 years throughout New York State in the following disciplines: Architecture/Environmental Structures/Design, Choreography, Music/Sound, Photography, and Playwriting/Screenwriting. Fifteen finalists, who do not receive a cash award but benefit from a range of other NYFA services, were also announced. A complete list of the Fellows and Finalists follows. 

The NYSCA/NYFA Artist Fellowship Program makes unrestricted cash grants of $7,000 to artists working in 15 disciplines, awarding five per year on a triennial basis. The program is highly competitive, and this year’s recipients and finalists were selected by discipline-specific peer panels from an applicant pool of 2,542. Since it was launched in 1985, the program has awarded over $31 million to more than 5,000 artists. This year, thanks to the generous support of photography nonprofit Joy of Giving Something, NYFA was able to award an additional five Fellowships in Photography, which has the largest application pool of any Fellowship category.

“We are grateful to NYSCA for this annual opportunity to provide nearly 100 artists from New York State with unrestricted cash grants,” said Michael L. Royce, Executive Director, NYFA. “What’s most exciting is that the Fellowship impacts artists of all disciplines and career stages and that these artists are being recognized by a jury of their peers. Beyond the financial aspect, it empowers them to keep creating and exploring new possibilities in their work.”

New York State Council on the Arts Executive Director Mara Manus described how the program makes New York communities more vibrant: “The NYSCA/NYFA Artist Fellowship recognizes that artists of all disciplines, backgrounds, ages, and career stages make vital contributions to New York’s creative culture. Over the past 33 years, the Artist Fellowship has been a launching pad and a critical source of support for artists whose work helps build healthy communities in all regions of the state.”

On receiving a NYSCA/NYFA Artist Fellowship in Playwriting/Screenwriting, Brooklyn-based Nabil Viñas said: “It is a deeply moving honor to be recognized by NYSCA/NYFA. I took up screenwriting out of necessity, as it became clear that the voices and stories from my life would not appear in works by others. This fellowship tells me our stories matter, and that my voice is worth hearing.”

For Ben Altman, a Fellow in Architecture/Environmental Structures/Design from Danby, NY, the NYSCA/NYFA Artist Fellowship represents another facet of support from NYFA: “NYFA has informed my artistic practice throughout my 12 years in Upstate New York, providing professional development, fiscal sponsorship, grant application support, workshops, critique, and timely advice. To be awarded a NYSCA/NYFA Artist Fellowship is as much a tribute to those inputs as it is an important and very welcome recognition of the work NYFA’s support has helped me to produce.”

To Veena Chandra, a Fellow in Music/Sound from Latham, NY, the NYSCA/NYFA Artist Fellowship empowers her to “continue to create, promote, and preserve” musical tradition. “I feel blessed to have been playing Indian sitar music for the last 63 years. I am so grateful to my father, who created an environment for me to learn this beautiful music and taught me from the very beginning of my life. To be recognized for my work in performing and preserving Indian Classical music means a lot to me, especially at this point in my career,” she noted.

Fellowship Recipients, Finalists, and Panelists by Discipline and County of Residence:

Architecture/Environmental Structures/Design Fellows

Ben Altman (Tompkins) Kenseth Armstead (Kings) Shimon Attie (New York) Sonya Blesofsky (Kings) Yeju Choi and Chat Travieso - Yeju & Chat (Kings) * Blane De St. Croix (Kings) Sun Young Kang (Erie) Kyung-jin Kim  (Queens) Ming-Jer Kuo (Queens)*** Lindsay Packer (Kings) Christopher Robbins (Westchester) Jeffrey Williams (Kings)       

Architecture/Environmental Structures/Design Finalists      

Serra Victoria Bothwell Fels (Kings) Justin Brice Guariglia (Kings) Pascale Sablan (New York)    

Architecture/Environmental Structures/Design Panelists    

Ann Reichlin (Tompkins) Ekene Ijeoma (Kings) Nina Cooke John (New York) Victoria Palermo (Warren)      

Choreography Fellows

Ephrat "Bounce" Asherie (New York) Justina Grayman (Queens)**** GREYZONE (Kings) Dan Hurlin (New York) Jaamil Olawale Kosoko (Kings) Shamel Pitts (Kings) Melinda Ring (New York) Same As Sister (Queens)* Rebeca Tomas (Westchester) Kelly Todd (Kings) Donna Uchizono (New York) Vangeline (Kings) Adia Tamar Whitaker (Kings)        

Choreography Finalists      

Parijat Desai (New York) DELIRIOUS Dances/Edisa Weeks (Kings) Netta Yerushalmy (New York)        

Choreography Panelists    

Rose Pasquarello Beauchamp (Monroe) Robin Collen (St. Lawrence) Trebien Pollard (Erie) Marie Poncé (New York) Kota Yamazaki (Kings)  

Music/Sound Fellows

ALMA (Kings)* Lora-Faye Åshuvud (Queens) Newman Taylor Baker (New York) Bob Bellerue (Kings) Leila Bordreuil (Kings) Vienna Carroll (New York) Veena Chandra (Albany) David First (Kings) Micah Frank (Kings) Kate Gentile (Kings) Michael Harrison (Westchester) JSWISS (Kings) Liz Phillips (Queens) Kenneth Kirschner (Kings) Elliott Sharp (New York) Jen Shyu (Kings) Ann Warde (Tompkins) Eric Wubbels (Queens)    

Music/Sound Finalists      

Lily Henley (Kings) Earl Howard (Queens) Tobaron Waxman (New York)    

Music/Sound Panelists    

Toni Blackman (Kings) Sarah Hennies (Tompkins) John Morton (Rockland) Margaret Anne Schedel (Suffolk) Elio Villafranca (New York)        

Photography Fellows

Manal Abu-Shaheen (Queens) Yasser Aggour (Kings) Aneta Bartos (New York) Lucas Blalock (Kings) Matthew Conradt (Kings) Debi Cornwall  (Kings) Robin Crookall (Kings) Tim Davis (Dutchess)****** Eli Durst (Queens) Nona Faustine (Kings) Jonathan Gardenhire  (Kings) Rachel Granofsky (Kings)***** Carlie Guevara (Queens) Gail Albert-Halaban (New York) Daesha Devón Harris (Saratoga)****** Gillian Laub (New York) Jiatong Lu (Kings)****** Diana Markosian (Kings) Rehan Miskci (New York) Rachelle Mozman Solano (Kings) Karina Aguilera Skvirsky (New York) Erin O'Keefe (New York) Paul Raphaelson (Kings) Victor Rivera (Onondaga)****** Jahi Lateef Sabater (Kings) Nadia Sablin (Kings) Derick Whitson (New York) Letha Wilson (Columbia)****** Alex Yudzon (Kings)        

Photography Finalists      

Mike Crane (Kings) Julianne Nash (Kings) Dana Stirling (Queens)

Photography Panelists    

Nydia Blas (Tompkins) Carmen Lizardo (Hudson) Lida Suchy (Onondaga) Sinan Tuncay (Kings) Penelope Umbrico (Kings)

Playwriting/Screenwriting Fellows

Rae Binstock (Kings) Benedict Campbell (Bronx) Sol Crespo (Bronx)**** Amy Evans (Kings) Stephanie Fleischmann (Columbia) Robin Fusco (Queens) Myla Goldberg (Kings) Ryan J. Haddad (New York) Susan Kathryn Hefti (New York) Holly Hepp-Galvan (Queens) Timothy Huang (New York) Fedna Jacquet (New York) Nicole Shawan Junior (Kings)** Serena Kuo (Kings) Kal Mansoor (Kings) Michael Mejias (Kings) Joey Merlo (New York) Rehana Lew Mirza (Kings) Joél Pérez (New York) Keil Troisi (Kings) Nabil Viñas (New York) Craig T. Williams (New York)    

Playwriting/Screenwriting Finalists      

Iquo B. Essien (Kings) Becca Roth (Kings) Sheri Wilner (New York)        

Playwriting/Screenwriting Panelists    

Sheila Curran Bernard (Albany) Clarence Coo (New York) Randall Dottin (New York) David Ebeltoft (Steuben) Julie Casper Roth (Albany) 

* Collaborative artists ** Geri Ashur Screenwriting Award *** Joanne Y. Chen Taiwanese American Artist Fellow **** Gregory Millard Fellows made with the support of the New York City Department of Cultural Affairs; Gregory Millard Fellowships are awarded annually to New York City residents chosen in several categories. The award was established by the New York City Department of Cultural Affairs in 1984 in memory of poet and playwright Gregory Millard, who served as Assistant Commissioner of Cultural Affairs from 1978 until his death in 1984 and championed the causes of individual artists. ***** Deutsche Bank Fellow ******Joy of Giving Something Fellow

Funding Support

NYSCA/NYFA Artist Fellowships are administered with leadership support from New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Major funding is also provided by the New York City Department of Cultural Affairs (DCLA). Additional funding is provided by Deutsche Bank Americas Foundation, ​Taiwanese American Arts Council​, The Joy of Giving Something Inc., and individual donors.

Find out more about the NYSCA/NYFA Artist Fellowship Program, a $7,000 unrestricted cash grant awarded to individual artists living and working in the state of New York. Follow us on Twitter, Facebook, and Instagram for more news and events from NYFA. To receive more artist news updates, sign up for our bi-weekly newsletter, NYFA News.

Images from Top: Lindsay Packer (Fellow in Architecture/Environmental Structures/Design ’19), False Fold, 2019, colored light and found objects, Photo Credit: Lindsay Packer; Donna Uchizono (Fellow in Choreography ’19), March Under an Empty Reign (Sextet), 2018, performers Natalie Green and Aja Carthon, Photo Credit: Ian Douglas; Eli Durst (Fellow in Photography ’19), Bread (Cross), 2017, archival pigment print; Veena Chandra (Fellow in Music/Sound ’19), Image Credit: MARS Fotographi

[blakegopnik]

The Whitney Biennial: 'Pleasant' Should Count as a Rave in Our Troubled Age

THE DAILY PIC (#1754): The 2017 Whitney Biennial is receiving almost universal praise, and I won’t be the one to break its run of luck. My Daily Pics for this entire week will be sampling the best works in the show.

Christopher Y. Lew and Mia Locks, the Biennial’s curators, are naturally getting a lot of the credit for the pleasures of their exhibition. Its 63 artists are also getting their share of kudos. (Although, reading between the lines, most of the reviews so far have found more works to like than to love; few if any pieces have been billed as earth-shaking. Critics have kvelled about the smaller size of this year’s affair. Think about that for a minute: Does it mean that less of today’s art is better than more?)

Whitney director Adam Weinberg has also come in for praise, at least implicitly, as the Big Boss in charge of the whole thing—and also, always, as the biggest mensch in the museum business.

But I think the honors need to be spread even wider. The sun, that star we all revolve around, deserves a lot of the credit for our satisfaction with this show: Light shines in from either end of the galleries and lightens everyone’s mood. The new Whitney’s lovely wood floors also deserve credit for cheering us up. Visitors will find themselves far less foot-sore than at earlier Biennials that were scoped-out on the great old Breuer building’s flagstones. (Critics’ aching arches may account for some of the slams they delivered to the surveys in the old space.) All of which is a way of saying that Renzo Piano, architect of the new Whitney, may be the unsung, unseen 64th artist of this Biennial.

So I’m starting this week of Biennial Pics with an image of a critic – yes, me – at ease in the museum’s bright spaces, but made more so by one of the art-furniture crossovers installed here and there in the survey by Jessi Reeves. This particular piece has the witty title of “Herman’s Dress.” It consists of a slightly scruffy old Herman Miller Eames sofa that Reeves has slip-covered in organza dyed a deep fuchsia pink. The sofa invokes the importance, and profound aesthetic potential, of re-use, that vital second option in the three-Rs of recycling. And it also invokes the idea that fine art might at last embrace, and also vivify, the dull but worthy functionalism of design. Finally, its soft pinkness wakes us up to just how male almost all of modern furniture has been happy to be. If humans can go trans these days and use the bathrooms of their choice—at least at the Whitney and other such upstanding institutions—why can’t modernism’s bent metal also do some gender bending? (Photo by Lucy Hogg)

The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive.

[fitzandco]

Mitchell-Innes & Nash congratulates GCC, Leigh Ledare and Pope.L on their inclusion in this year’s Whitney Biennial. 

The 2017 Whitney Biennial features sixty-three individuals + collectives whose work takes a wide variety of forms, from painting and installation to activism and video-game design. This year’s biennial was co-curated by Christopher Y. Lew and Mia Locks.

[whitneymuseum]

Pope.L’s socially engaged practice, spanning performance, theater, installation, video, and painting has interrogated conceptions of class, community, language, and race for over forty years. He is the recipient of the 2017 Bucksbaum Award, a prize granted to one artist in each Whitney Biennial in recognition of work that demonstrates a singular combination of talent and imagination. On October 19, curator Christopher Y. Lew joins Pope.L to discuss his practice in the context of contemporary art in America. Tickets at whitney.org.

[Pope.L aka William Pope.L, Claim, 2017. Acrylic paint, graphite pencil, pushpins, wood, framed document, fortified wine, and bologna with black-and-white photocopy portraits, 15 × 16 3/4 × 16 3/4 ft. (4.6 × 5.1 × 5.1 m). Collection of the artist; courtesy Mitchell-Innes & Nash, New York. Photograph Bill Orcutt]

[josephianni]

Upon Listening In On Perspectives on Race and Representation

I improvisationally composed this piece whilst listening to a live feed from the Whitney Museum of American Art concerning Perspectives on Race and Representation streaming from their Facebook page. The talk included many well established artists including Elizabeth Alexander, Christopher Benson, LeRonn P. Brooks, Ken Chen, Malik Gaines, Lyle Ashton Harris, Terrance Hayes, Ajay Kurian, Christopher Y. Lew, Casey Llewellyn, Mia Locks, Claudia Rankine, Sarah Schulman, Christina Sharpe, and Herb Tam. 

Much of the talk revolves around Dana Schutz’s painting, Open Casket, it is, to quote their Facebook, “a starting point, tonight’s program looks at questions about the ethics of representation and the responsibilities of artists and museums. The Whitney is partnering with Claudia Rankine and the Racial Imaginary Institute to convene this conversation with artists, scholars, and critics to gain their insights into these issues in relation to the 2017 Biennial and our contemporary moment.”

This piece is largely unedited. It for me functions as archive in order for me to return to it and meditate upon at some later time. It also represents a listening and reacting to the experience of a mediated reflection upon the events in real time. In all honesty this piece of writing is a series of questions and definitions trying to transcribe, in some medium, what acts such as these are engaging in. It is my reacting and consequential producing. It is a product and a reaction.  For context, a Facebook friend shared the live stream and because I had sufficient free time I began to listen in about half way through just as Claudia Rankine was finishing her portion. First, I began taking notes as if in a lecture and then realized I was doing something else altogether.  --- Who is authorized to destroy?

What laws are of humans and not also upon them?

Does the destruction of property frighten us because of its connection to the body

Nothing is property without propriety, right?

propriety

noun

the state or quality of conforming to conventionally accepted standards of behavior or morals

Apropos - being both relevant and opportune

If the A- hear is negational then is what does that make propos, irrelevant and inopportune?

Propos - French for about

prop -

noun

a pole or beam used as a support or to keep something in position, typically one that is not an integral part of the thing supported.

verb

position something underneath (someone or something) for support.

noun

a portable object other than furniture or costumes used on the set of a play or movie.

mid 19th century: abbreviation of property.

abbreviation

proposition

proprietor

pro,

professional or

you positive?

Let us not confuse David with Goliath! The prophet extolls this! Why?

What profit does the prophet make from this ex

                    -tolling?

ex- prefix

from Latin meaning ‘out of’

What was the original toll?

What has come out of toll?

What is the toll of the body?

What is the toll on the body?

How much does the casket cost?

What is the use of an Open Casket when we will bury or burn the damned thing anyways?

What is the Damned Thing?

The body, the body, inside the casket is the body, are we trying to avoid the body by putting it in a casket?

Can the body be painted?

Can the body be put away in a painting?

I’ve heard of a painting embodying but what of a body empainting?

em-

noun

a unit for measuring the width of printed matter, equal to the height of the type size being used.

late 18th century: the letter M represented as a word, since it is approximately this width.

pronoun

short for them, especially in informal use.

Middle English: originally a form of hem, dative and accusative third person plural pronoun in Middle English; now regarded as an abbreviation of them.

prefix

variant spelling of en-

abbreviation

electromagnetic.

Engineer of Mines.

enlisted man (men).

ing-

denoting a verbal action relating to an occupation, skill, etc. "banking"

denoting something involved in an action or process but with no corresponding verb. "scaffolding"

-ing

forming present participles used as adjectives. "charming"

-ing

a thing belonging to or having the quality of.

What is the body?

We put the body in the Earth, does the earth own the body?

When the government taxes us for land use do they own the body?

If they own the body, should they take responsibility for it?

What is the dead body?

What can the dead body do?

If the owner can be said to be responsible for the body, the body must be troubling something, causing some issue for another body?

Is that other body living?

Wait, is the body a zombie or some other undead?

un- prefix

Old English, of Germanic origin; from an Indo-European root shared by Latin in- and Greek a-

in-

adjective

(of a person) present at one’s home or office

fashionable

(of the ball in tennis or similar games) landing within the designated playing area

adverb

expressing movement with the result that someone or something becomes enclosed or surrounded by something else

expressing the situation of being enclosed or surrounded by something

expressing arrival at a destination

(of the tide) rising or at its highest level

(of an infielder or outfielder) playing closer to home plate than usual                                                                                    (of a pitch)

Old English in (preposition), inn, inne (adverb), of Germanic origin; related to Dutch and German in (preposition), German ein (adverb), from an Indo-European root shared by Latin in and Greek en.

a- prefix

What is a prefix?

What if I take the word apart?

What if I take the word a-

part?

What if I take the word, a part?

Is this an autopsy of the word?

Do I upturn all the quiet graves disturb the bodies or the Earth when I define, or search into the etymology?

Is the word a body?

Is the body propos or apropos in this sentence?

Whose opportunity is the body?

Is life a sentence?

sent - english

verb

simple past tense and past participle of send

sent - french

a smell, a stink, something foul-smelling

a feeling,

a touching,

a groping

en - within; inside from Greek

expressing a conversion into a specified state or location

ce - this

Am I trying to make this a poem?

Is this a poem?

I don’t want to lie when I say I don’t know, but I wonder how?

If I want to ask the question, will it come out as just a statement?

How am I responsible to other human beings in anything I make?

Is that question complicated enough?

How do we not know?

Am I yelling?

Am I yelling?

Am I yelling?

What is right now?

What is now?

What now?

now

adverb

at the present time or moment

used, especially in conversation, to draw attention to a particular statement or point in a narrative.

conjunction

as a consequence of the fact

adjective

fashionable; up to date 

---

I’ve also added the video of the talk if anyone might be interested in listening to it themselves. Thank you.

https://www.facebook.com/whitneymuseum/videos/10154262121821433/

[max-art]

The 2017 Whitney Biennial                        Part 1

What I like most about the  2017 Whitney Biennial is that the young curators, Christopher Y. Lew and Mia Locks, have created an exhibition that follows the grand tradition of what made the Biennial the most important contemporary show in the U.S. The tradition I am mentioning is that the work chosen was  made in the last 2 years, and for the most part, that is what they have done. They have also preferenced emerging artists and almost entirely stayed away from the “mega” names who so prominently have infiltrated the shows for at least the last 20 years. This is the first Biennial in the New Whitney building and the 2 floors it occupies, are well suited for the experience.

Early assessments of the Biennial revolve around how “dark” the show is. If this is not seen as a critique, then I am, for the most part, in agreement with it. Lew and Locks, the 2 thirty something curators, reflect the melting pot that our country is and is based upon. As long as they had their eyes open over the course of the last 2 years, they could not help but create a show that reflects an anxious view of our social and cultural present. Yet much to their credit they did not choose artists or their work that sacrificed quality to assert a particular social, cultural or political end. As such the creativity apparent overall in the exhibition mitigates against the thread of nihilism which can pervade thematic shows.

One of the more prominent artists in the show, Dana Schutz, exemplifies, in her paintings, the balance between painterly aims and social and/or political iconography.

Elevator, 2017 is one of a series of elevator paintings Schutz began a couple of years ago after the reported fight between JZ and Beyonce’s sister in an elevator at the Barkley Center. This version seems more expansive in context smashing together, people, robots and bugs. The structure of the painting seems to recall cubist and dada prototypes from one hundred years ago, when another bout of world nationalism was about to degrade into WW1. Francis Picabia’s Eccliastic from 1913 has a similar chaotic structure to the elevator. In each painting there is a sense of suspended time.

In another of her works, the reference is quite direct and the intent to draw attention to racist violence and its consequences quite clear

The work, entitled, Open Casket, 2016, is based on the tragic, brutal death of Emmett Till in 1955. A fourteen year old African American, Till was accused of flirting with a white woman (apparently considered by his murderers a capitol offense). His mother decided to leave his casket open for the funeral. Schutz’s handling of the subject is humane, compassionate and compelling.

When writing about African American artists, I have commented that I do not see how any artist of color in America could avoid a confrontation with race in his/her work and in times like the present that seems acutely true. Like many of his contemporaries, Kerry James Marshall, Kara Walker, Titus Kaphar and many more, Henry Taylor does not shy away from the subject matter. In his painting, Ancestors of Ghenghis Khan and Black Man on horse, 2015-17

Taylor creates a condensed history painting with expanded implications for the present. Here he seems to be channeling a tradition fostered by the great Robert Colescott.

Knowledge of the past is the key to the future: Some afterthoughts on discovery, 1986.

Just as Schultz can be specific in her references, so can Taylor and each of them has the ability to enlarge the specific into the universal. In The Times They Ain’t a Changing Fast Enough,2016, Taylor references the killing of Philando Castille by a policeman in Minnesota in July of last year.

A helpless figure in a white shirt, surrounded by a yellow light. An anonymous, faceless shooter in black points his weapon…

Francisco Goya, May 3, 1800,1808.

The artist Puppies Puppies sculptural pieces on the 6th floor could almost be missed, save their power. The series called Triggers are of dismantled firing apparatus for guns just an inch or two long.

When Puppies Puppies was 11, their mother was involved in a kidnapping situation at gunpoint that solified an anti gun position for the rest of their life. As I have previously written, the Second Amendment was never intended to condone the abuse and violence fostered by positions of groups like the NRA who because of their deep pockets, control many of our political leaders.

On the 8th floor, Puppies Puppies has the piece Liberte which is a performance of an actor or a mannequin dressed as the Statue of Liberty like is done in Times Square for tourists.

The comment on our authentic democracy and what it does or doesn’t stand for is profound. 

From profound to bologna, 2755 slices each affixed with a black and white photograph of a person on the inside and outside of a large room constructed by Pope.L aka William Pope.L

The numbers have something to do with the number of Jews in New York, sort of, but really symbolize how numbers can be used for nefarious reasons like discrimination or the number of “"fraudulent” votes cast in an election to influence through power. Coincidentally, the rise of anti Semitic hate crimes in New York beginning in November, 2016 has been more than significant.

Finally, anger in America could be said to be at an all time high in all four corners of the society. Jordan Wolfson has created a virtually real video, Real violence, 2016, which reflects that proposition. When you put on the headset, the attendant warns you that the video could be a bit disorienting so you should hold on to the rail at the table

I assumed this was because of the virtual visual effects. No, this is the most disturbing video I have ever seen, and I really needed to hold on because of the content I was viewing.  Days later I still don’t know what to make of my feelings or what I think of it. All I could think of was the Trump statement, “"I could walk down Fifth Avenue and shoot someone in the chest, and I wouldn’t lose one vote or supporter.” For me, this video represented the darkest moment in the Biennial, and I’m sure there will be much discussion about its inclusion. I am not giving more of its content, but if you view it, you are in for unmitigated, rageful violence, and enigmatically it all takes place with a background of Hebrew chanting having to do with Hanukkah prayers.

Part 2 of this review will be published soon.

This is an addendum to the above review. In light of the incredible controversy that has arisen with respect to Dana Schutz's work Open Coffin, I don't find it necessary to write a second part to the review. Clearly, I support Dana Schutz as an artist and her creative right to paint whatever subject (matter) she chooses. The demand that the painting be destroyed is an anathema. And the charge that she couldn't possibly understand black pain and experience since she is white leads to the same kind of censorship that has been associated with political correctness. In my other career as a Psychoanalyst, it would be absurd to adhere to the notion that I could only empathize with someone if I actually was the same race or gender and had the same exact experience.

[madforfashiondude]

Art News: Whitney Announces 2017 Biennial Film Program

Art News: Whitney Announces 2017 Biennial Film Program

A Broad Range Of Moving Image Artists To Be Shown In The 2017 Biennial’s Film Program A series of film screenings and conversations will be presented as part of the 2017 Whitney Biennial, opening at the Whitney Museum of American Art on March 17. The series takes place over ten consecutive weekends, from March 17 through May 21, 2017, in the Susan and John Hess Family Theater on the Museum’s…