#Guggenheim Museum NY 2018

[fashionbooksmilano]

Hilma af Klint Paintings for the Future

Tracey Bashkoff

Guggenheim Museum Publ., New York 2018, 239 pages, 22.35 x 29.46 cm, ISBN  978-0892075430

euro 67,00

email if you want to buy booksinprogressmilano@yahoo.it

Hilma af Klint's daring abstractions exert a mystical magnetism

When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice―one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.

Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art―a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.

Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.

14/06/23

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[sexypinkon]

Lavar Munroe's latest foray

View works.

Sviriko: Spirit Medium, 2023

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Lavar Munroe is a Bahamian interdisciplinary artist working primarily in mixed media painting, cardboard sculpture, and drawings. His work examines themes present in folklore, fables and historic films ­– drawing comparison between his upbringing in the Bahamas and travels to various countries in Africa. Addressing multiple narratives that span personal, historical and mythological references, Munroe’s work presents conflicts between a desire to escape and the longing for home while challenging us to journey beyond the familiar. 

Described as a hybrid medium between painting and relief sculpture, Munroe’s work often incorporates sentimental objects collected and gifted from his family and objects found during his travels. His work focuses on themes such as journey, utopia, magic, love and the celebration of escape through fantastical and dreamlike imagery. Munroe (b.1982, Nassau, Bahamas) earned his BFA from Savannah College of Art and Design (2007) and MFA Studio Art at Washington University, St. Louis (2013). He also attended Skowhegan School of Painting and Sculpture (2013) and was awarded a postdoctoral research fellow at the University of North Carolina, Chapel Hill (2016), Benny Andrews Fellow from the MacDowell Colony (2016), and The Carolina Postdoctoral Program for Faculty Diversity-University of North Carolina, Chapel Hill NC (2014). 

Recent solo exhibitions include Jack Bell Gallery, London, England (2022, 2021, 2014); Walters Museum of Art, Baltimore, MD (2021); NOMAD, Brussels, Belgium (2017); Meadows Museum of Art, Shreveport, LA (2018); SCAD Museum of Art and Gutstein Gallery, Savannah, GA (2016); and The Central Bank, Nassau, Bahamas (2010). Notable group shows include The National Art Gallery of the Bahamas (2022); Centre Pompidou Metz, FR (2022); Ichihara Lakeside Museum (2020); Virginia Museum of Contemporary Art, Virginia Beach, VA (2020); Perez Art Museum Miami, FL (2019); Jack Bell Gallery, London, UK (2017); and Nasher Museum of Art, Durham, NC (2015). He has also been featured in the Art Basel Miami Beach (2022); Kampala Biennale (2020); Off Biennale Cairo (2018); 12th Dakar Biennale, Senegal, West Africa (2016); and 56th Venice Art Biennale (2015). His work is in the collections of The Baltimore Museum of Art,  Fondation de France; Fondation Gandur pour l’Art, Genève, Switzerland; The Studio Museum of Harlem, New York, NY; The Central Bank of the Bahamas, Nassau, BA; The National Art Gallery of the Bahamas, Nassau, BA; and the MAXXI Museum, Rome, IT. 

He is the recipient of honors and awards including the John Simon Guggenheim Memorial Foundation Fellow, Robert De Niro Award (2023), the Sondheim Artscape Prize Finalist (2021), Distinguished Alums Award from Sam Fox School of Art and Design from Washington University of St. Louis (2018), Postdoctoral Award for Research Excellence from the University of North Carolina (2015), Sam Fox Dean’s Initiative Fund (2013), Joan Mitchell Foundation Painters and Sculptors Grant (2013), Joan Mitchell Foundation Scholarship (2012), The Kraus Family Foundation Award (2011), and The National Endowment for the Arts Grant (2011).

Munroe lives and works between Baltimore, MD, and the Bahamas.

[xtruss]

The World’s Most Beautiful Museums

SHANGHAI MUSEUM OF ASTRONOMY, CHINA 🇨🇳! Rounded buildings meant to mimic the stars and planets make up the new Shanghai Museum of Astronomy by Thomas J. Wong and Ennead architecture. A glowing oculus at the entrance tracks the movement of the sun.

ZEITZ MOCAA, SOUTH AFRICA 🇿🇦! Architect Thomas Heatherwick carved concrete tubes that once held grain into a dazzling lobby at the Zeitz MOCAA, which opened in 2017 in Cape Town, South Africa. The first contemporary art museum in Africa, it showcases works by sculptors, photographers, and painters from across the continent.

Top: LUMA FOUNDATION, FRANCE 🇫🇷! Frank Gehry was inspired by Vincent van Gogh’s Starry Night painting when he designed the Luma Foundation in Arles, France, which opened in June 2021. The combo contemporary art museum and cultural center towers 180 feet above the small French city known for drawing Van Gogh, Pablo Picasso, and other painters. Some critics believe it is too overwhelming in size for the surrounding geography.

Bottom: V&A DUNDEE, SCOTLAND 🏴󠁧󠁢󠁳󠁣󠁴󠁿! A sister museum to London’s Victoria & Albert Museum, the V&A Dundee opened in 2018 as an outpost for Scottish craft and design. Japanese architect Kengo Kuma used glass and concrete slabs to summon Scotland’s cliffs; an innovative dam holds the river back from the ship-like structure.

Top: MUSEUM OF THE FUTURE, UAE 🇦🇪! In Dubai, the Museum of the Future is due to open in late 2021 in a fiberglass-and-steel form covered in Arabic calligraphy. It will hold exhibits on design and technology innovations, and the exterior will glow via LED lights at night.

NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY & CULTURE, USA 🇺🇸! A standout addition to Washington, D.C.’s National Mall, the Smithsonian’s National Museum of African American History & Culture opened in 2016. Architect Thomas Adjaye shaped the building like a Nigerian tribal crown and covered the façade in aluminum fretwork mimicking iron balconies in New Orleans.

Top: GUGGENHEIM BILBAO MUSEUM, SPAIN 🇪🇸! Frank Gehry’s Guggenheim Bilbao Museum was a game-changer when it opened in 1997 in Spain’s Basque country. Its swooping forms and reflective surface set a new standard for what contemporary museums could look like and how they could transform a city’s identity.

Bottom: JEWISH MUSEUM, BERLIN, GERMANY 🇩🇪! Daniel Libeskind created the 2001 addition to the 1933 Jewish Museum in Berlin, spatially reckoning with the Holocaust and its legacy of absence, loss, and invisibility via empty rooms, dead ends, and dim lighting.

Top: HEYDAR ALIYEV CENTER, AZERBAIJAN 🇦🇿! There are no straight lines in Baku, Azerbaijan’s Heydar Aliyev Center. The undulating, curvy structure by the celebrated late architect Zahia Hadid shelters a museum on the country’s history and culture.

Bottom: GUGGENHEIM MUSEUM, NY, NY, USA 🇺🇸! Architect Frank Lloyd Wright was planning out New York’s Solomon R. Guggenheim Museum in the 1940s, dreaming of buildings shaped like seashells. Wright died shortly before it opened to mixed reviews in 1959; the modern and contemporary display space is now considered his masterpiece.

Top: ANDALUSÍA MUSEUM OF MEMORY, SPAIN 🇪🇸! Alberto Campo Baeza designed Granada’s museum of Andalusía’s history and culture by centering a simple, almost stark three-story building around a playful circular courtyard. Elliptical ramps rise to connect the different levels.

Bottom: M/S MARITIME MUSEUM OF DENMARK, DENMARK 🇩🇰! In the town of Helsingør (home to a castle that inspired Shakespeare’s Hamlet), this innovative, subterranean museum shows off ships, navigational equipment, and other nautical artifacts. The Bjarke Ingels Group planned the series of glass-walled galleries and industrial walkways.

MUSEU DE ARTE DO RIO, BRAZIL 🇧🇷! At the Museu de Arte do Rio (MAR), the architects at Bernardes + Jacobsen linked a Baroque palace, a police building, and a bus terminal via a wave-shaped roof and a walkway. The resulting contemporary art showplace hosts exhibits and performances.

CENTRE GEORGES POMPIDOU, FRANCE 🇫🇷! An early example of “inside out” design, the contemporary art museum in Paris features exposed ductwork, exterior escalators, and a pop sensibility courtesy of Richard Rogers and Renzo Piano's 1971 plans. Its rooftop restaurant boasts some of the best views of the city.

[harvardfineartslib]

We are starting off Women’s History Month with Hilma af Klint (b. 1862), a Swedish abstract painter. Though unknown and unrecognized in the art world during her lifetime, she was prolific as an artist and produced an impressive body of work. Upon her death in 1944, af Klint bequeathed more than 1,200 paintings and works on paper and more than 124 notebooks to her nephew. Believing that the world was not ready for her work, she left instructions in her will that he should not show her work to the public for twenty years after her death.

In recent decades, the public has finally had a chance to see her ground-breaking abstract paintings, which predated the work of Vasily Kandisnky (1866 – 1944), who is recognized as a pioneer of abstract art. In 2018, over seventy years after her death, the Guggenheim Museum mounted the first major survey exhibition of her oeuvre in the United States. The re-discovery of af Klint’s work has generated much discussion and study among contemporary artists, scholars, and curators. The relevance of her work in the present, as she had foreseen as the future, demands the rewriting of art history.

“Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements, and esoteric symbolism.” - Publisher's description

Image1: Front cover, Untitled series, Group IV, The Ten Largest, No. 7, Adulthood, detail Image 2: From the same series: No. 2, Childhood, (315 x 234 cm) Image 3: No. 3, Youth (321 x 240 cm) and No 4, Youth (315 x 234 cm) Image 4: No. 5, Adulthood (321 x 237 cm) and No. 6, Adulthood (315 x 234 cm) Image 5: No. 9, Old Age (320 x 238 cm) and No. 10, Old Age (320 x 237cm)

All works: Tempera on paper, mounted on canvas, 1907

Hilma af Klint : paintings for the future Tracey Bashkoff. Klint, Hilma af, 1862-1944 [artist]   New York, NY : Guggenheim, [2018] 243 pages : illustrations (chiefly color) ; 30 cm English Catalog of an exhibition held October 12, 2018-April 23, 2019 at Solomon R. Guggenheim Museum, New York. From October 12, 2018, to April 23, 2019, the Solomon R. Guggenheim Museum presents the first major solo exhibition in the United States of the Swedish artist Hilma af Klint (1862-1944) ISBN : 9780892075430 ISBN : 0892075430 [2018] HOLLIS number: 99153734889603941

[justkarliekloss]

Joshlie timeline

Part 1 |  Part 2  | Part 3 | Part 4 | Part 5 |

2014

-> January.

Karlie posts a photo of Josh from their trip to Bagan, Myanmar, and Burma, and another one of herself where she tags Josh.

-> February

Josh posts a photo of Karlie on his instagram, they are spotted out in New York on February 22, and on an interview with Metro she talks about him.

Have you ever stood someone up or been stood up?

Um, let me think. No, I don’t think so. I’m 21 years old, so I haven’t been on too many dates, and I have a boyfriend. That would be terrible to be stood up.

Do you believe in love at first sight?

Yeah, I do. I was definitely not planning on falling in love [with boyfriend Josh Kushner]. But I think that’s the thing about it, you can’t anticipate or plan it.

You’re photographed in lingerie a great deal — a look that men’s magazines like to perpetuate as real-life. Is this the case?

No, I’m into sweatpants and my boyfriend’s T-shirt. I like to be totally boring and watch football. There’s no fancy lingerie. But on a special occasion like Valentine’s Day, it’s always fun to get dressed up, and that’s why there’s some good stuff at Victoria’s Secret.

-> March

They attend together the Vanity Fair Oscars Party, and Karlie promotes Oscar, Josh’s company, on her instagram.

-> May

They attend the Met Gala together (x) (x) and are spotted out and about in NY (x)

-> June

Josh supports Karlie at the launch of her collaboration with Warby Parker (x)

-> July

According to a comment Kristine made on one of Josh’s posts, he and Karlie went on a trip together, but the post is gone. The comment said: “Hope you guys have a great trip! Can’t wait to see you next week! xx”

For the 4th of July Karlie regrams one of Josh’s posts, and they both share these pics from the same day (x) (x)

-> August

Karlie posts a photo of Josh (x), are spotted playing football in NY (x), and attend the US Open together (x)

-> October

Karlie reposts another photo from their trip to Burma that Josh had also posted and they attend together the Book Party for Peter Thiel and Blake Masters' "Zero to One" (x)                               

-> November

They attend the Guggenheim International Gala Pre-Party (x) and post the same photo from that event (x) (x), Josh posts a photo of Karlie, Josh posts a photo of Karlie at Big Sur that she reposts the same day (x) (x), and Karlie posts the first photo of them together on her instagram.

-> December

Karlie posts a photo of Josh bowling with the caption “date night” (x)

Trip to Patagonia to spend the New Year (x) (x) (x) Karlie will also post a video from this trip in 2018 (x)

-------------------------------------------------------------------------------------------------------

2015

-> January

Karlie posts two photos of Josh from their trip to Patagonia (x) (x) From this trip also is this photo Karlie will post for their anniversary in 2016.

-> February

For Valentine’s Day, Karlie reposts Kevin’s photo from 2012 of her and Josh, confirming it was them.

This month Karlie attended the Oscar de la Renta fashion show, where she wore a green dress. I believe this photo with Josh on the background is from that same day.

-> March

This month they attended one of Josh’s friends wedding, but Josh deleted the photo (x)

-> April

They attend Coachella with friends and Karlie posts another photo with Josh.

This month Karlie also launchs her collaboration with Frame and celebrates it with Karlie’s dinner. On one of the photos we can see Josh.

-> May

Again, they attend the Met Gala together (x) (x), and Josh posts another photo of Karlie (x)

-> June

They are spotted in NY (x) and Karlie posts for Josh’s birthday (x).

Trip to Russia with some friends for the opening of Garage Museum. Derek Blasberg posted this photo taken by Josh where we can see Karlie, and then she posted this photo that is “very Josh”.

-> July

Josh posts a new photo of Karlie (x)

-> August

Josh’s posts for Karlie’s birthday (x) and someone spots them chilling in NY (x)

-> September

Josh posts another photo of Karlie. They attend Burning Man together (x)

-> October

They are spotted at a baseball game (x) and attend Kevin Systrom’s wedding (You can see half of Josh on the right) (x)

-> November

British Vogue posts this video with Karlie. She shows a notebook where we can read that she’s been taking Jewish lessons.

Karlie attends a SNL after party with Lorde, and on the background of one of the photos we can see Josh was there too (x)

* This photo seems to also be from this year, but I don’t know from when.

*There also is this photo of them at a museum that was posted in 2015, but I’m not sure about the exact date.

[gagosiangallery]

Gregory Crewdson at Gagosian Beverly Hills

August 25, 2020

GREGORY CREWDSON An Eclipse of Moths September 24–November 21, 2020 456 North Camden Drive, Beverly Hills __________ These pictures are a meditation on brokenness, a search, a longing, and a yearning for meaning and transcendence. The figures are surrounded by vast decaying industrial landscapes and the impinging nature―and there’s a certain underlying suggestion of anxiety. But I hope in the end the theme of nature persisting, and of figures seeking out light, offers hope for renewal, even redemption. —Gregory Crewdson Gagosian is pleased to present An Eclipse of Moths, an exhibition of new work by Gregory Crewdson. For three decades, Crewdson’s photographs of houses, landscapes, and people have become canonical representations of the liminal and forgotten in America. Series such as Twilight (1998–2002), Beneath the Roses (2003–08), and Cathedral of the Pines (2013–14) show fantastical scenes of wonder and anxiety, their quiet, bristling stillness implying an airless claustrophobia that persists even in wide-open expanses. An Eclipse of Moths comprises sixteen large-scale panoramic exteriors, shot using Crewdson’s famously meticulous production techniques and longtime technical crew. Set in a postindustrial urban landscape, the series depicts locales of removed isolation, each of which Crewdson spent months scouting and staging before production began: a taxi depot, a traveling carnival lot, an abandoned factory complex, defunct bars and diners, and vacant storefronts.

The series takes its title from an entomological term. Moths use transverse orientation to fly at a constant angle relative to a distant light source, such as the moon; exposure to artificial light confuses the insects’ internal navigation, changing their behavior and destination. Crewdson anchors his photographic figures in relation to a source of light: a street lamp or traffic light, or the hesitant, transitional illumination of twilight. In each image, the viewer is positioned above in a semi bird’s-eye vantage point. Redemption Center (2018–19) is set in a parking lot where a recent thunderstorm has left behind puddles on the ground and a thick atmospheric fog hanging in midair. A wall faces the viewer, its faded lettering bearing the titular inscription. Outside the open door of a trailer, two teenagers are positioned beside a pile of returned cans and bottles. Closer in the foreground, beneath a towering lamppost, a man pauses to cast his gaze down at a mysterious scattering of rose petals floating on a large puddle. The figure, unmoored from time and place, appears frozen with climactic hesitation. In scenes that combine hope with the forgotten and restlessness with ennui, the world of these photographs is laden with premonition. Confounding the eerie, elusive intimacy of an Edward Hopper painting with a Hitchcockian cinematic and compositional precision, Crewdson’s images create wordless, open-ended narratives populated by characters and places that feel remote and unsettling—yet deeply familiar. A limited-edition book with a text by Jeff Tweedy, published in a series of 750 signed copies, will be released by Aperture to coincide with the exhibition. Gregory Crewdson was born in 1962 in Brooklyn, New York, and lives and works in New York City and Massachusetts. He is a graduate of SUNY Purchase, New York, and the Yale School of Art, New Haven, where he is now director of graduate studies in photography. Collections include the Los Angeles County Museum of Art; San Francisco Museum of Modern Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Art Institute of Chicago; and National Gallery of Victoria, Melbourne, Australia. Exhibitions include Gregory Crewdson: 1985–2005, Kunstverein Hannover, Germany (2005, traveled to Kunstmuseen Krefeld, Germany; Fotomuseum Winterthur, Switzerland; and Landesgalerie Linz, Austria); In a Lonely Place, C/O Berlin (2011, traveled extensively); Beneath the Roses, Museu da Imagem e do Som, São Paulo (2014); Fireflies, Wave Hill, Bronx, NY (2014); The Becket Pictures, Fonds régional d’art contemporain Auvergne, Clermont Ferrand, France (2017); and Cathedral of the Pines, Photographers’ Gallery, London (2017, traveled to Centre of Contemporary Art, Toruń, Poland, 2017–18). @crewdsonstudio _____ Gregory Crewdson, Redemption Center, 2018–19, digital pigment print, image: 50 × 88 7/8 inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm), edition of 4 + 2 AP © Gregory Crewdson

[faakeid]

Ji posts on his Instagram basically about his work and family. But there are some posts that are supposed to be indirectly about Ks. You can put which post you think was about Ks. What if these posts are random or did something happen and he wanted to give an "answer".

Ah yes yes. There are some of that during the time he had ig (for real). Before compilating the occasions tho, it’s important to notice that: 1) not all moments will be indirect kd, but things out of his family/work portfolio he exposed on is ig and it’s important to take note and 2) he knows ig is a job tool for his solo pictorials/ex0 (and a way to contact fans too ofc). He first created  kimkaaaaaa acc and made fans wild. In the end, tho, he just did it to promote Exo’dus album and made a fuss to delete that acc lmao.

The first one (source) to point out was a “direct” kd. JI interacts a lot on the social media and likes posts related to himself/the group. And in July 2018 he liked this pic, which ks is the first to appear. Is it too far fetched to think he liked this group of pics bc was appearing first? rethorical question, don’t reply

Before passing to the next posts, just would like to let his reply to a fan in one of his pictures (source):

Having this in mind, let’s move on.

One post that peaked fans curiosity was this one below:

Coincidentially or not, it was posted after some fans spammed “i see you k41s00″ on his ig (more about what happened here). And for those who don’t know, this ghost name is Michelin a pneumatic manufacturer brand. Also, as a coincidence, it’s the same name of the list of restaurants KS likes to eat (the most famous and well received restaurants, Michelin list).

Ok, so this picture grabbed some fan’s attention because of it’s content: a picture of a person in a BDSM context. It was taken during an exposition dedicated to this artist that happened in NY with the title: “Implicit Tensions: Mapplethorpe Now”. According to guggenheim museum website,  Robert Mapplethorpe is well known for “images that deliberately transgressed social mores and for the censorship debates that transformed him into a symbol of the culture wars in the late 1980s and early 1990s. In the ensuing decades, artists and critics have grappled with Mapplethorpe’s legacy, raising questions about the agency of the photographic subject and interrogating his representations of homoerotic desire, the black male nude, and the female figure.” (source)

The first part of the exposition (which lasted since January 25 until July 10, 2019) “featured highlights from the Guggenheim’s in-depth Mapplethorpe holdings, including early Polaroids, collages, and mixed-media constructions; iconic, classicizing photographs of male and female nudes; floral still lifes; portraits of artists, celebrities, and acquaintances; explicit depictions of New York’s underground S&M scene; and searingly honest self-portraits.”

Some people argued that “JI took those picture without knowing the history behind the photographer” and etc, but I disagree. I went to lots of museums and if I learned something is that people are mostly inclined to take (and post) pictures of art of artists they admire or that match their ideals (or because they’re famous, like Monalisa). Artists like Leonardo da Vinci, Dali, Van Gogh, Magritte, Goya and many others inspire millions because of who they were during their time on earth and the message they passed. And  Mapplethorpe had an interesting life story. Maybe polemic, but still intriguing and his photographs really showed that. So, to post pictures of his work without know the history behind it? It doesn’t make any sense.

It’s also easy to conclude JI enjoys his work because he took a set of other pictures involving this specific artist, as you can see below

Of course it doesn’t mean to affirm that JI’s into BDSM in his private life, but the theme was used in Mapplethorpe’s work to give visibility of gay community decades ago. And those themes end getting a different connotation when creating art.

TL;DR: JI is not ur typical streighty.

So, there were some correlations with kd in those pics JI posted while he was in London, like a sort of crypit message? The black prince would mean KS because of his role in 100 days + his love for black and the lips and heart as a more obvious sign (really even nowadays there’s a fight between kd and jk shippers bc of the heart pic, it’s vomit indulcing).

BONUS:

1. The live JI recorded with M00nkyu at the Han River. I know, it doesn’t have anything with kd, but people were implying he was homophobic because of his reaction (since that destination is a nice place to couples walk around);

2. JI in PCY’s live saying the fact ji and ks bdays were so close was “fate” (source)

3. Some pics PCY posted with KD on his ig~

4. Even silence can be a reply as well (the coincidence concerning JI’s ig disappearance after KS enlistment news broke out and just returning during expl0ration concert.)

5. There’s a comment relating an ufo post JI made with kd that, at least for complementary purposes, it’s worthy to mention.

[hilite-head]

  In lovely memorandum the intense and overtly stimulating week in New York City summer 2018 filled with art hoping and other adventures like seeing Kinky Boots broadway play, getting chinese acupressure body massage at dingy underground subway parlor, cruise the city on ferry from Pier 17, almost getting kidnapped by strange man after Heaven’s Gate rooftop sipping (scary), and getting to attend live recording of my favorite guilty pleasure TV host Wendy Williams show / be featured on her “Ask Wendy” segment (what an experience).

I priority visited NY to see and be enthralled in nothing but art. Got to visit over twenty galleries and museums throughout the city from the big hitters like The MET, The MET Breuer, MOMA, The Whitney, The Guggenheim, Gagosian triplets, Museum of Sex to smaller galleries in Chelsea. I still cherish all the memories of the vividly disorienting visuals highlights of which include doing studio visit/art review with director/curator of Tiger Strikes Astroid Gallery in Bushwick, seeing Nobuyoshi Araki’s retrospective exhibit at the Museum of Sex (yessssss), visiting “Heavenly Bodies” costumes + Versailles exhibit at the MET and “Like Life Sculpture, Color and the Body” exhibit at The Met Beuer (amazingggg, see below). Also Jenny Saville’s new exhibition “Ancestors” at Gagosian in Chelsea, and getting to see all time fav since high school – artist Zak Smith and his smaller pen and ink drawing series at Fredericks & Freiser Gallery. I got to meet Zak Smith in person later in 2018 in LA where he currently lives and works, what a meeting that was. Thank you to beautiful Sunya egch and Mark family for all your hospitality and hosting me ♡ Looking forward to another crazy week in New York in latter 2019 or Spring 2020.

Some Nobuyoshi Araki’s images below are rated X, disclaimer. Enjoy glorious

  Tiger Strikes Asteroid Gallery

Tiger Strikes Asteroid Gallery

Tiger Strikes Asteroid Gallery Studio

Museum of Sex

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Guggenheim

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Wendy Williams Show

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MOMA

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MET

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Whitney Museum of Art

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Gagosian Gallery

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Met Breuer

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Di Donna Gallery

Di Donna Gallery

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Chelsea Galleries

Chelsea Galleries

Gagosian Gallery

Gagosian Gallery

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Chelsea Galleries

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Gagosian Gallery

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Chelsea Galleries

Chelsea Galleries

  Flashback Fridays: Art hopping in NY Summer 2018 (pictograph voyage ) In lovely memorandum the intense and overtly stimulating week in New York City summer 2018 filled with art hoping and other adventures like seeing Kinky Boots broadway play, getting chinese acupressure body massage at dingy underground subway parlor, cruise the city on ferry from Pier 17, almost getting kidnapped by strange man after Heaven's Gate rooftop sipping (scary), and getting to attend live recording of my favorite guilty pleasure TV host Wendy Williams show / be featured on her "

[slcvisualresources]

Hilma af Klint Untitled, 1920 from On the Viewing of Flowers and Trees (Vid betraktande av blommor och träd) Watercolor on paper, 17.9 x 25 cm The Hilma af Klint Foundation, Stockholm Photo: Albin Dahlström, the Moderna Museet, Stockholm

Courtesy of the artist and the Guggenheim Museum, NY

Work is included in the exhibition Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, October 12, 2018–April 23, 2019

[nyfacurrent]

Event | Doctor’s Hours for Film/Video, New Media, and Multidisciplinary Artists

This Monday, April 1 event will offer one-on-one individual consultations with industry professionals.

Are you a film/video, new media, or multidisciplinary artist in need of some career advice? The New York Foundation for the Arts (NYFA) is pleased to announce an upcoming session of its popular Doctor’s Hours program, which is designed to provide creatives with practical and professional advice. Starting at 11:00 AM on Monday, March 11, you can register for 20-minute, one-on-one appointments with up to three arts professionals to ask questions and receive actionable tips for advancing your arts career.

Title: Doctor’s Hours for Film/Video, New Media, and Multidisciplinary Artists Program Date and Time: Monday, April 1, 2019, 6:00 PM - 9:00 PM   Location: The New York Foundation for the Arts, 20 Jay Street, Suite 740, Brooklyn NY, 11201 Cost: $38 per 20-minute appointment; three appointment limit per artist Register: Please click here to register

If you can not participate in our Doctor’s Hours program on April 1, you can book a one-on-one remote consultation via Skype through our new Doctor’s Hours On Call program.

Read our Tips & FAQs in English and Spanish to make the most of your Doctor’s Hours appointment. For questions, email learning@nyfa.org.

Consultants

Livia Bloom Ingram, Film Curator and Vice President of Icarus Films Icarus Films is a distribution firm that The New York Times calls "a haven for nonfiction films that are at once socially conscious and supremely artful." Ingram has presented programs at venues including the Cinémathèque Française, Museum of the Moving Image, and The Museum of Modern Art (MoMA). She is the editor of the book Errol Morris: Interviews (University Press of Mississippi, 2009), and her writing has appeared in journals including Cinema Scope, Cineaste, Filmmaker, and Film Comment.

Iyabo Boyd, Independent Film Producer, Writer/Director, and Entrepreneur Boyd is currently producing the feature documentary For Ahkeem by Emmy-winning directors Jeremy Levine and Landon Van Soest. She previously held positions at filmmaker support institutions Chicken & Egg Pictures, Tribeca Film Institute, Hamptons Film Festival, and IFP. In 2015, Boyd started the Brown Girls Doc Mafia, a collective for women filmmakers of color, and in 2016 she founded the documentary consulting firm Feedback Loop. Boyd is a 2016 Sundance Creative Producers Fellow, and a 2016 Impact Partners Creative Producers Fellow. She graduated from NYU’s Tisch School with a BA degree in Film & Television in 2006. 

Peter Gynd, Director, Lesley Heller Gallery Gynd is an independent curator, fifth generation artist, and the director at Lesley Heller Gallery in Manhattan’s Lower East Side. Originally from Vancouver, Canada, Gynd studied at the Alberta College of Art and Design and has exhibited in both Canada and the United States. Notable exhibitions curated by Gynd include a permanent exhibition at the Foundation Center, NY; an acclaimed two-person presentation at SPRING/BREAK Art Show (2015); and group exhibitions at Present Company, NY; NARS Foundation, NY; the Northside Festival, NY; Lesley Heller Workspace, NY; and at the Dynamo Arts Association, Vancouver, Canada. Gynd’s exhibitions have been featured in Hyperallergic, The Carnegie Reporter, Blouin Artinfo, and Gothamist. Gynd has been a guest visitor at Residencies Unlimited, Kunstraum, and ChaNorth Artist Residency, and a guest juror at 440 Gallery and Sweet Lorraine Gallery.

Dr. Les Joynes, Multimedia Artist Joynes' work has been documented in Art Monthly, Sculpture Magazine, NHK Television, and in two recent books on site-specific art. He is co-author of Going Beyond: Art as Adventure and Museum 2050 (Cambridge Scholars, 2018). A Visiting Professor at Renmin University, Beijing, Joynes has given lectures on multi-media art at Cambridge University; Columbia University; University of California; and Peking University, Beijing. In New York, he is a scholar on art and visual cultures at Columbia University and serves on the Editorial Board for ProjectAnywhere, a collaborative project between University of Melbourne, Australia, and Parsons School of Design, The New School. Recently selected as a ZERO1: Art and Technology Artist, Joynes is also recipient of the Erasmus Scholarship for the École Nationale Supérieure des Beaux-arts, Paris; the Japan Ministry of Culture Scholarship, Tokyo; and the Fulbright-Hays Award. He has also been a Fellow at University of the Arts London and the Bauhaus, Dessau. 

Matthew Lyons, Curator, The Kitchen As Curator at The Kitchen, Lyons has organized numerous exhibitions, performances, and other programs since 2005. Recent work includes projects with Chitra Ganesh, Trajal Harrell, nora chipaumire, Xaviera Simmons, Sarah Michelson, Aki Sasamoto, Constance DeJong, Kembra Pfahler, and Katherine Hubbard. Upcoming work includes projects with Moriah Evans and Lea Bertucci. During his tenure, he has organized group exhibition including The Rehearsal; The View from a Volcano: The Kitchen’s SoHo Years 1971-1985; One Minute More; Just Kick It Till It Breaks (catalog); Between Thought and Sound: Graphic Notation in Contemporary Music (catalog); and The Future As Disruption. He has also worked on the group exhibitions Dance Dance Revolution at Columbia University, Character Generator at Eleven Rivington Gallery, and Two Moon July at Paula Cooper Gallery. Lyons has contributed catalog essays on the work of Mika Tajima and Vlatka Horvat, and other writing has appeared in Document Journal, Flash Art, PERFORMA 07: Everywhere and All at Once, and Work the Room: A Handbook of Performance Strategies. He is Contributing Editor at Movement Research Performance Journal, having edited its “Six Sides, Typologically Distinct: Black Box / White Cube” series, which he initiated, between 2009-2015.

Blandine Mercier-McGovern, Content Strategy & Film Acquisitions, Distribution Executive Mercier-McGovern is a passionate and innovative film acquisition, content strategy, and distribution executive based in Brooklyn. While Head of Licensing & Content Strategy at Kanopy and Head of Distribution at Cinema Guild, Blandine discovered, acquired, and led the release of hundreds of award-winning films, from the big screen to video-on-demand. She’s an avid podcast and audiobook listener, and was a ”Made in NY” Women’s Film, TV and Theatre Fund panelist in 2018.

Anne Wheeler, Curatorial Associate, The Whitney Museum of American Art Wheeler is a New York-based artist, curator, writer, and art historian. She received her BA degree from the University of California, Berkeley, double-majoring in English and the Practice of Art, and is now an ABD doctoral candidate in Art History at the Institute of Fine Arts at NYU, specializing in Modern and Contemporary Art. Wheeler joined the Solomon R. Guggenheim Museum in 2010 at the founding of its Panza Collection Initiative research project, and served as assistant curator for the major international loan exhibitions On Kawara – Silence (2015) and Peter Fischli David Weiss: How to Work Better (2016). With Shawna Vesco, Wheeler curated the apexart Franchise Program exhibition Un-Working the Icon: Kurdish 'Warrior-Divas' in Berlin, Germany, in 2017. Wheeler is currently working as a curatorial associate at the Whitney Museum of American Art, guiding the acquisition of a major gift from the Roy Lichtenstein Foundation as she completes her doctoral dissertation titled 'Language as Material: Rereading Robert Smithson.'

Lauren Zelaya, Acting Director of Public Programs, Brooklyn Museum Zelaya is a cultural producer, curator, and museum educator based in Brooklyn, NY. At Brooklyn Museum, Zelaya curates and produces the Target First Saturdays and other free and low-cost public programs that invite over 100,000 visitors a year to engage with special exhibitions and collections in new and unexpected ways. As a curator, advocate, and educator, Zelaya is committed to collaborating with emerging artists and centering voices in our communities that are often marginalized, with a focus on film and performance and creating programming for and with LGBTQ+, immigrant, and Caribbean communities. In her spare time she hosts a bi-weekly radio show celebrating creatives in Brooklyn and is a screener for the Brooklyn Film Festival. Known and respected equally for her nail art and her fierce commitment to bringing art and culture to the people, Zelaya was named one of Brooklyn Magazine’s “30 Under 30″ in 2018. Previously, she worked in education at the Queens Museum and the Museum of the Moving Image, and with emerging artists in Queens as a program coordinator with the Queens Council on the Arts. She is a proud alumna of the Brooklyn Museum’s Education and Public Programs Fellowship and received her BA degree in Art History and Film Studies from Smith College.

Event Accessibility

The New York Foundation for the Arts is committed to making events held at the NYFA office at 20 Jay Street in Brooklyn accessible. If you are mobility-impaired and need help getting to NYFA’s office for events held on premises, we are pleased to offer complimentary car service from the wheelchair accessible Jay Street-MetroTech subway station courtesy of transportation sponsor Legends Limousine. Please email learning@nyfa.org or call 212.366.6900 ext. 252 between 9:30 AM - 5:30 PM at least three business days in advance of the event to coordinate. The elevator access point for pickup is at 370 Jay Street, on the NE corner of Jay and Willoughby Streets.

This program is presented by NYFA Learning. Sign up here to receive our bi-weekly newsletter for the latest updates and news about programs and opportunities for artists.

Image: Doctor’s Hours, September 2017, Photo Credit: NYFA Learning

[sandrateitge]

Steffani Jemison & Justin Hicks (Mikrokosmos) Another time, this time, one time 24 Jun – 2 Jul 2022

CCA Berlin  – Center for Contemporary Arts

Formed in 2016 as the collaborative platform of composer Justin Hicks and artist Steffani Jemison, Mikrokosmos mines the history of Black music. This ongoing project has manifested in many forms: workshop, study session, concert, listening session, book, prompt, score. The exhibition at CCA Berlin presents two related compositions inspired by Gil Scott-Heron’s  ambitious songbook. Another time, this time, one time (Aaliyah, Barbara, Brandy, Chaka, David, Erykah, Gil, Lionel, Loleatta, Mariah, Marvin, Stevie) tracks a small group of melismatic* gestures across bodies and time; it is a search for the "mother run." Another time, this time, one time, the first Mikrokosmos LP, uses Gil Scott-Heron and Brian Jackson’s “We Almost Lost Detroit” (1977) as the raw material for R&B songwriting. Like a game in which new words are formed from existing letters, these live compositions and recompositions take the form of musical studies, samples, and improvisations. Jemison and Hicks reflect upon a wide range of subjects, including Scott-Heron’s biography, police violence in the United States, and the nuclear catastrophe that threatened the city of Detroit in 1966. *Melisma (Greek: lit. 'song'; from melos, 'song, melody') is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic. An informal term for melisma is a vocal run.

Justin Hicks is a multidisciplinary artist and performer who uses music and sound to investigate themes of presence, identity, and value. His work has been featured at Lincoln Center for the Performing Arts, Performance Space New York, The Public Theater, JACK, National Black Theatre, The Bushwick Starr, MoMA, Dixon Place, festival Steirischer Herbst (Graz, Austria), Western Front Society (Vancouver, BC), MASS MoCA, The Whitney Museum of American Art,  Nottingham Contemporary (Nottingham, UK), The Albertinum - SKD (Dresden, DE),  The Highline, and The John F. Kennedy Center for Performing Arts among others. Hicks has collaborated with notable visual artists, musicians, and theater-makers including Abigail DeVille, Charlotte Brathwaite, Kaneza Schaal, Meshell Ndegeocello, Cauleen Smith, Helga Davis, and Ayesha Jordan. He was the Drama Desk-nominated composer for Mlima’s Tale by Lynn Nottage (The Public Theater 2018 dir. Jo Bonney). His practice with artist Steffani Jemison, Mikrokosmos, has deployed commissioned performances and exhibitions internationally.  Hicks was a member of Kara Walker’s 6-8 Months Space and holds a culinary diploma from ICE in New York City.  He was born in Cincinnati, OH, and is based in the Bronx, NY.

Steffani Jemison was born in Berkeley, California and raised in Cincinnati, Ohio. Her work has been the subject of solo exhibitions and special projects at JOAN Los Angeles (2022), Contemporary Art Center Cincinnati (2021), the Everson Museum (2021), the Stedelijk Museum (2019), Nottingham Contemporary (2018), Jeu de Paume and CAPC Bordeaux (both 2017), MoMA, New York (2015), RISD Museum, Providence (2015), and LAXART, Los Angeles (2013) among others. Her work has been included in numerous group exhibitions, including the Guggenheim Museum (2021), the Whitney Biennial, New York (2019), the Museum of Contemporary Art Chicago (2019), and the Institute of Contemporary Art, Philadelphia (2017). It is in numerous public collections, including the Guggenheim Museum, the Hirshhorn Museum, the Studio Museum in Harlem, the Brooklyn Museum, the Whitney Museum, the Museum of Modern Art, the San Jose Museum of Art, the Albright-Knox Museum, the Stedelijk Museum, and others. Jemison currently lives and works in Brooklyn and is an Associate Professor at Rutgers University Mason Gross School of the Arts.

*Steffani Jemison & Justin Hicks' ​Another time, this time, one time is part of CCA Berlin's Stirring Up Trouble, a program unfolding until the end of June, and which aims to host, restage, and think alongside four distinct artistic positions that foreground acts of listening and their manifold potentialities. Through their practices, invited artists engage listening as a method of witnessing unseeable formations of violence (Lawrence Abu Hamdan); an invitation to inhabit tropical geographies otherwise (Kent Chan); an everyday practice of place-making and communitarian belonging (Black Obsidian Sound System); and a regenerative archival portal into shared inheritances and histories of struggle (Steffani Jemison and Justin Hicks). By tuning in to organized sounds, accidental leaks, and enforced silences, they conceive modes of aesthetic experience that challenge common perceptions of artmaking, and trace roadmaps to resonant imaginaries. Stirring Up Trouble is generously supported by the foundation Between Bridges. Co-conceived with Edwin Nasr.

[stephaniemarlowftw]

COLD CAVE CONQUER THE “PROMISED LAND”

Their new single premieres alongside a stunning music video in advance of their North American tour.

Watch and share now on YouTube.  

As they prepare for a large-scale North American tour and close out their second sold-out show at Hollywood Forever Cemetery tonight, COLD CAVE have unveiled a new single.  Titled “Promised Land,” the track was mixed by Chris Coady and mastered by Bob Weston, and showcases COLD CAVE at the peak of their powers; propulsive, synth-heavy darkwave that marries vocalist Wes Eisold’s signature stormy croon with Amy Lee’s lustrous and shimmery timbre.  Check out the enigmatic new music video directed by Travis Shinn and Jeremy Danger on YouTube. 

“Promised Land” arrives after the April 2018 release of COLD CAVE’s acclaimed You & Me & Infinity EP.  The band has eschewed the traditional LP release cycle by independently operating in an untraditional and DIY way by releasing singles and EP’s on their own terms.  And with an already prolific number of releases, COLD CAVE has become a name synonymous with the contemporary resurgence of Darkwave and Synth Pop sub-genres.  “Promised Land” continues to hint at what is to come from COLD CAVE in the future. 

COLD CAVE vocalist Wes Eisold is celebrating his 20th year of touring and his body of work continues to reverberate throughout the subterranean arts scene and beyond. Eisold has gained mass appeal, influencing underground and popular culture with his ever evolving artistic vision.  This has propelled the band to perform at world class museums The Getty and the Guggenheim, as well as performances with legends The Jesus and Mary Chain and Nine Inch Nails among others. 

This weekend, COLD CAVE will embark on a North American tour and will play these shows with a full live band featuring Wes Eisold, Amy Lee, Nils Blue, Ryan McMahon and Anthony Anzaldo (Ceremony) marking a triumphant return to their full-live-band format.  All dates are listed below, featuring support from Adult. and Vowws and also including a stop at Brooklyn Steel on March 4th with the legendary Psychic TV.  Tickets for this tour are on sale now at www.coldcave.net.    

COLD CAVE - ON TOUR:

2/17 - San Francisco, CA @ The Chapel 

2/18 - Portland, OR @ Wonder Ballroom 

2/19 - Olympia, WA @ Capitol Theater 

2/20 - Vancouver, BC @ Imperial Theater 

2/22 - Calgary, AB @ Marquee 

2/23 - Edmonton, AB @ Starlite Room 

2/26 - Minneapolis, MN @ Turf Club 

2/27 - Chicago, IL @ Metro 

2/28 - Detroit, MI @ Majestic 

3/01 - Philadelphia, PA @ Underground Arts 

3/02 - Boston, MA @ The Sinclair

3/04 - Brooklyn, NY @ Brooklyn Steel ^

3/05 - Washington, DC @ Union Stage

3/06 - Carrboro, NC @ The Cat's Cradle 

3/07 - Atlanta, GA @ Masquerade 

3/08 - Tampa, FL @ The Crowbar 

3/09 - W. Palm Beach, FL @ Respectables 

3/10 - Orlando, FL @ The Abbey 

3/13 - San Antonio, TX @ Paper Tiger

3/14 - Dallas, TX @ Not So Fun WKND 

3/15 - Santa Fe, NM @ Meow Wolfe 

3/17 - Tucson, AZ @ 191 Toole 

3/19 - San Diego, CA @ Belly Up 

3/20 - Tijuana, MX @ Black Box 

3/21 - Pioneertown, CA @ Pappy & Harriet's 

3/22 - Los Angeles, CA @ The Theater at Ace Hotel   

^ w/ Psychic TV

Artist photo by: Amy Lee.

[architectnews]

Greenwood Lake Resort Home, New York

Greenwood Lake Resort Home, New York Real Estate For Sale, Orange County Castle, Images

Greenwood Lake Resort Home in New York

Mar 16, 2021

The Castle, NY

The Castle on Greenwood Lake in New York is now back on the market at $12.75 million

Location: Orange County, New York, USA

Source: TopTenRealEstateDeals.com

More unique than almost anything else on the real estate market today and expansive enough for family, extended family, teammates and favorite friends, retired New York Yankees star and first-ballot MLB Hall of Famer, Derek Jeter, has dropped the price on his castle-like resort home on Greenwood Lake in New York by $2 million. Previously listed in 2018 at $14.75 million, it is now back on the market at $12.75 million.

Known locally as The Castle and originally built in 1903 by New York Doctor Rudolph Gudewill for his wife, the estate is actually two castles – the master castle with a connected tower and a guest castle.

After Gudewill died, John and Julia Tiedemann bought the castle, where they lived with their 13 children including an adopted son, William Connors. Connors was later to become Jeter’s maternal grandfather. Jeter spent many of his childhood summers at the castle swimming, playing sports and chores.

The Tiedemanns sold the estate in 1996, but when it came back on the market in 2002, Jeter bought it and began a long and expensive restoration.

Greenwood Lake, where the borders of New Jersey and New York join and just 50 miles from New York City, has been a popular tourist destination since the late 1800s attracting wealthy vacationers and celebrities such as Greta Garbo and Babe Ruth. Ruth had a home in Greenwood and spent his free time speeding around the lake in his boat and stopping at Maplewood Inn for a drink or two or three. Always known as a place to spot celebrities, the lake has attracted its share of New York Yankee players and fans.

The seven-mile lake, restaurants and rural atmosphere attract frequent weekend visitors from New York City, New Jersey and Philadelphia.

Encompassing 12,590 square feet of living space between the main and guest castles, the Jeter compound includes four indoor kitchens, one outside kitchen and an extra-large, infinity-edged pool. Living areas include six bedrooms, seven full and five half baths, great room, four kitchens, multiple stone fireplaces including one on the terrace, dens, game room, sunroom, formal dining room, office, gym and family room with a bar.

The turret opens out to a widow’s walk, which is duplicated on the guest house, providing beautiful lake and wood views. There are extensive gardens, a Statue of Liberty replica and a four-car garage. Even with a large number of guests, there is always a quiet place to spend some alone time.

With his busy schedule as part owner and CEO of the Miami Marlins, Derek oversees the day-to-day operations of the team that surprised most baseball experts by making the MLB playoffs in 2020 and then knocked out the Chicago Cubs in the first round.

Jeter also manages a plethora of other business interests and since his marriage to model Hannah Davis in 2016, is also a family man helping to raise their two young children. Unable to spend time in his castle on the lake, it makes sense to pass it on to a family who will enjoy it as much as his own family has over the years.

The listing agent is Mary Lovera with Wright Bros. Real Estate, Nyack, New York.

YouTube Credit: Sean Evans, @evvo1991 backtothemovies.com/

Photo credit: Wright Bros.

Source: mlovera.wrightinnyack.com

Greenwood Lake Resort Home, New York images / information received 160321

Houses

Location: Orange County, New York, USA

New York State Architecture – NY State

Frank Lloyd Wright Buildings

Price Tower, Bartlesville, Oklahoma, USA photo © Jessica Lamirand, CC BY-NC-SA 2.0 Price Tower Bartlesville

‘Tirranna’ home in New Canaan, CT, USA source: Frank Lloyd Wright house in New Canaan + Rayward–Shepherd House by Frank Lloyd Wright in New Canaan

Frank Lloyd Wright’s most famous building – Fallingwater, Bear Run, Ohiopyle, Pennsylvania, USA picture : Simon Garcia | arqfoto.com Fallingwater House by Frank Lloyd Wright

Norman Lykes Home, Phoenix House, Arizona, USA photograph : Wikimedia Commons Frank Lloyd Wright House for Sale

Solomon R. Guggenheim Museum, New York, USA photo : David M. Heald, © SRGF, New York Guggenheim Museum New York

Houses of Sagaponac, Long Island, NY, USA Bachman Wilson House, NJ by Frank Lloyd Wright: picture from Brown Harris Stevens Houses of Sagaponac

Zimmerman House, Manchester, USA photo © Adrian Welch Frank Lloyd Wright house : photos exclusive to e-architect

New York State Residences

Olnick Spanu House, Garrison Design: Alberto Campo Baeza photo : Javier Callejas Contemporary New York House

HSU House, Ithaca EPIPHYTE Lab, Architects picture : Susan & Jerry Kaye

Holley House, Garrison hanrahanMeyers architects photo : Michael Moran

New York City Architecture – Manhattan

Modern American house : Farnsworth House photo © gm+ad architects

Contemporary New York State Homes

House in Austerlitz Design: anmahian winton architects image from architects

Secret Room Guesthouse, Ellenville, New York, USA Design: Studio PADRON photography: Jason Koxvold Secret Room Guesthouse in New York

Guesthouse Ancram, New York, USA Design: HHF Architects and Ai Weiwei photo : Iwan Baan Guesthouse Ancram – New York House

Comments / photos for the Greenwood Lake Resort Home, NY page welcome

Website: Greenwood Lake, New York

The post Greenwood Lake Resort Home, New York appeared first on e-architect.

[tamafes]

Zuriñe F. Gerenabarrena

スリーネ・Ｆ・ヘレナバレーナは、C.ベルナオーラとフランコ・ドナトーニのもとで作曲を学んだ。ゲレナバレナは、オーケストラ、室内アンサンブル、演劇、ダンス、アクースマティック、サウンド・インスタレーション、複合的なショーのための作品を書いている。 国際的なフォーラムやコンサートのセレクション： Auditorio Nacional, Guggenheim Museum Inauguration, Sinkro, Bernaola Festival, Festival Shyntése, Kleiner Konzertsaal (ミュンヘン), Accademy Sibelius, Festival Visiones Sonoras, Sonoimagenes, Elektrophonie/Nuit Bleue, Milan Universitá, EMU Festival, Festival, Musica Viva, “E`Werk”, Festival Borealis, Musiques & Recherches, Exhibition “Down the Dori” (東京), BKA Theather, Pyramidale Festival, EAM Festen Frost, EviMus, ICMC 2015, 7o Musica Electric Nova, Plage Sonore, MUSLAB, BIFEM 2017, TONBAND, DME55, Noh X Contemporary Music, SICMF (ソウル), Matera/Intermedia 2018 (アクースマティック賞), Musica Nova 2018 (佳作), San Francisco Tape Music Festival, Mise-En Music, ICMC/NYCEM (ニューヨーク), Atemporánea Festival, Helicotrema, Ecos Urbanosなど。 アーティスト・イン・レジデンス： LEC（リスボン）、USF/Verfet（ノルウェー）、VICC（スウェーデン）、トーキョーワンダーサイト（日本）、Shiro Oni（日本）、ZHdk/ICST（チューリッヒ）、EMS（ストックホルム）、NOTAM（オスロ）。 MUSIKENEの対位法、和声の教授。www.zfgerenabarrena.com

Zuriñe F. Gerenabarrena studied composition with C.Bernaola and Franco Donatoni. Gerenabarrena has written pieces for orchestra, chamber ensembles, theatre, dance, acousmatic, sound installations and multidisciplinary shows. International forum and sonorous diffusion, selection: Auditorio Nacional, Guggenheim Museum Inauguration, Sinkro, Bernaola Festival, Festival Shyntése, Kleiner Konzertsaal (Munich), Accademy Sibelius, Festival Visiones Sonoras, Sonoimagenes, Elektrophonie/Nuit Bleue, Milan Universitá, EMU Festival, Festival, Musica Viva, “E`Werk”, Festival Borealis, Musiques & Recherches, Exhibition “Down the Dori” (Tokyo), BKA Theather, Pyramidale Festival, EAM Festen Frost, EviMus, ICMC 2015, 7o Musica Electric Nova, Plage Sonore, MUSLAB, BIFEM 2017, TONBAND, DME55, Noh X Contemporary Music, SICMF (Seoul), Matera/Intermedia 2018 (Prize Acousmatic), Musica Nova 2018 (Honoray Mention), San Francisco Tape Music Festival, Mise-En Music, ICMC/NYCEM (NY), Atemporánea Festival, Helicotrema, Ecos Urbanos... Artist in residence: LEC (Lisbon), USF/Verfet (Norway), VICC (Sweden), Tokyo Wonder Site (Japan), Shiro Oni (Japan), ZHdk/ICST (Zurich), EMS (Stockholm), NOTAM (Oslo) Professor of Counterpoint, Harmony at MUSIKENE. 

www.zfgerenabarrena.com

[clovesmenezes]

Shaun Leonardo: The Freedom to Move | Art21 "New York Close Up" from Art21 on Vimeo.

How can splintered stereotypes become mechanisms for portraying a fuller self?

Summoning experiences from his formative years, performance and socially-engaged artist Shaun Leonardo embarks on bold explorations of the ways that art has allowed him to expose and distort societal perceptions of Brown and Black people, and, in the process, make sense of his identity. Born to Latin American immigrants in Queens, New York, and recruited to play football at a private New England college, Leonardo recounts a seminal moment on the playing field: a beloved coach provokes him to play as if he was "just let out of Rikers." For Leonardo, the incident revealed the hypervisible and dehumanizing ways that Black and Brown bodies are perceived, setting him on a path to seek ways that he might exist more fully and freely in his body.

Leonardo recounts early performances of "El Conquistador vs The Invisible Man" (2006) and "Bull in the Ring" (2008), which drew upon his experiences as a former athlete. In each, Leonardo puts himself through physically exhausting processes, reflecting violence and hypermasculinity back to the audience. In more recent works, such as "Primitive Games" (2018) and "Mirror/Echo/Tilt" (2019), he engages participants in movement workshops and nonverbal storytelling exercises as a way of understanding their own experiences.

Spurred by the police killings of young Black men, Leonardo reflects on the community of his youth and asks, "Why me? Why was I the one that was able to make it out?" This questioning led Leonardo to more direct action with Assembly, an arts diversion program for court-involved youth that he co-founded with the non-profit organization Recess in 2017. Since that time, Leonardo has grappled with the philosophical crisis of operating within a criminal justice system, but remains committed to directly engaging with and caring for the participants. "Being able to exist in your own body and understand that you do not need to be defined by an experience—arrest and incarceration—allows you to move forward with a little more sense of joy," says the artist. "To get anyone to start imagining possibilities for themselves again, that is what we all should be after."

Shaun Leonardo (b. 1979, Queens, New York, USA) lives and works in Brooklyn, New York. Learn more about the artist at: art21.org/artist/shaun-leonardo/

CREDITS | "New York Close Up" Series Producer: Nick Ravich. Director: Nick Ravich. Editor: Nadine Mundo. Additional Editor: Troy Herion. Cinematography: Jarred Alterman. Additional Camera: Logan Quarles and Brian Wengrofsky. Grip: George Schramm. Sound: Trokon Ngabe. Production Assistant: Meghan Garven. Color Correction: Addison Post. Sound Design & Mix: Gisela Fullà-Silvestre. Design & Graphics: Andy Cahill and Chips. DIT & Assistant Editor: Jasmine Cannon. Music: Troy Herion. Artwork Courtesy: Shaun Leonardo. Archival Media Courtesy: Melvin Barinas, Brad L. Cooper, Melanie Crean, Armando Croda, Sebástian Diaz, Mariam Dwedar, Giacomo Francia, Adam Gundersheimer, and Sable Elyse Smith. Thanks: Melissa Saenz Gordon, High Line, Brian Losier, New Museum, Emma Nordin, Recess, Sugartone Brass Band, The Solomon R. Guggenheim Museum, Justin Waldstein, and YouTube Space NY. © Art21, Inc. 2021. All rights reserved.

"New York Close Up" is supported by The Andy Warhol Foundation for the Arts; and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; Dawn and Chris Fleischner; and by individual contributors.

#ShaunLeonardo #Art21 #Art21NewYorkCloseUp

[gagosiangallery]

Gagosian at the NY Art Book Fair

September 13, 2019

NY Art Book Fair TARYN SIMON Project room 4 September 20–22, 2019 MoMA PS1, New York

__________ Gagosian is pleased to announce its participation in Printed Matter’s NY Art Book Fair with a special project space marking the release of Taryn Simon’s An Occupation of Loss on limited-edition vinyl, published by the Vinyl Factory. Visitors to the project space can experience the album at individual listening stations during its first presentation in the United States. Commissioned jointly by Artangel and the Park Avenue Armory, An Occupation of Loss was first presented in September 2016 at the Park Avenue Armory, New York. In April 2018, a second performance took place in London, beneath Islington Green in a cavernous secret crypt selected for its unusual sonic properties. In An Occupation of Loss, professional mourners enact rituals of grief, simultaneously broadcasting their lamentations, many of which trace their origins to pre-Islamic and pre-Christian times. Their sonic mourning is performed in recitations that include laments from Northern Albania, which seek to excavate “uncried words”; the Wayuu people of Colombia, safeguarding the soul’s passage to the Milky Way; the ancient Greek state of Epirus, binding the story of a life with its afterlife; and the Middle Eastern Yazidis, mapping a topography of displacement and exile.

Throughout history, professional mourners have been granted the authority to occupy, negotiate, and shape the experience of loss. Despite this responsibility, mourners have often been marginalized by governments, economic systems, and orthodoxy. An Occupation of Loss considers the anatomy of grief and the intricate systems we devise to manage the abstract certainty of death. The double album includes both live recordings made in the space below Islington Green and studio recordings of each lament performed by the professional mourners who collaborated on the London performance. The accompanying 80-page book, designed by Simon and her longtime collaborator Joseph Logan, presents the lyrics of the laments, their English translations, and Simon’s portraits of the performers. A section documenting the performers’ visa application processes foregrounds the underlying structures of global exchange, the movement of bodies across borders, and the hierarchies of art and culture. A special art edition of the book, of which only 350 copies were produced, features a collection of photographs taken by the mourners. On the occasion of the release of this latest publication, Gagosian will offer an opportunity to acquire a selection of books from Simon’s extensive publishing practice of the past ten years. Taryn Simon was born in 1975 in New York, where she lives and works. Collections include the Metropolitan Museum of Art, New York; Centre Pompidou, Paris; Tate, London; and Museum für Moderne Kunst, Frankfurt am Main, Germany. Exhibitions include Contraband, Centre d’Art Contemporain, Geneva (2011); Rear Views, A Star-forming Nebula, and the Office of Foreign Propaganda, Jeu de Paume, Paris (2015); 56th Biennale di Venezia (2015); An Occupation of Loss, presented by Artangel and the Park Avenue Armory, New York (2016); An American Index of the Hidden and Unfamiliar, Louisiana Museum of Modern Art, Humlebaek, Denmark (2016–17); Paperwork and the Will of Capital, Musée d’art contemporain de Montréal (2017); and A Cold Hole + Assembled Audience, MASS MoCA, North Adams, MA (2018–19). Simon’s honors include the John Simon Guggenheim Memorial Foundation Fellowship in Photography and a Photo London Master of Photography award. Preview tickets are available at nyartbookfair.com. _____ Taryn Simon, An Occupation of Loss, 2019 © The Vinyl Factory