Art Fairs NYC

SPRING/BREAK Art Show

SPRING/BREAK Art Show is an internationally recognized exhibition platform using underused, atypical and historic New York City exhibition spaces to activate and challenge the traditional cultural landscape of the art market, typically but not exclusively during Armory Arts Week. The eighth annual exhibition will be held from March 5th  – March 11th, 2019. All artworks in the show are displayed and available for purchase online, giving artists unknown, emerging, mid-career, and beyond a virtual compliment to their tactile exhibition.

In March 2019, over 100 curators will premiere new artworks created by over 400 artists, all selected around this year’s central art theme, FACT AND FICTION

The “fact” of a person and their environment—the artist and their world—and the “fiction” of their creation—their art—feel blended more than ever.

In light of this osmosis, SPRING/BREAK Art Show 2019 seeks similar inquiries into the paradoxes of FACT AND FICTION. The 2019 exhibition aims for works dealing with self-mythology, history, memory, cultural conspiracy, propaganda, appropriation, psychedelia, and/or a focus on subjects related to the utterly un-provable—the occult, religious, pseudoscientific, and pseudohistorical, pseudepigraphica to mythopoetica.

Art on Paper

Art on Paper returns to downtown Manhattan’s Pier 36 in March of 2019 (March 7-10) with eighty-five galleries featuring top modern and contemporary paper-based art. Art on Paper’s medium-driven focus lends itself to significant projects – unique moments that have set the fair apart and established an important destination for the arts in New York City. 

Samuelle Green

Samuelle Green constructs large scale installations from hundreds of thousands of hand rolled paper cones, typically consisting of paperbacks slated for recycling or being discarded. These adorn a hidden framework which transforms typically rectilinear spaces into organic, otherworldly environments. These elements combine to reference the complex and often overlooked art forms found in nature. Green’s installations reference these forms on a human scale- inspiring contemplation. 

Roland Poska

Jerald Melberg Gallery presents the ‘Sentinels’ a series of cotton fiber and pigment sculptures by the artist Roland Poska. 

Other Art Fairs Worth Mentioning

SCOPE

The 19th edition of SCOPE New York returns to its Chelsea location at Metropolitan Pavilion. Known for presenting groundbreaking contemporary work, SCOPE New York will welcome 60 international exhibitors at its centrally-located venue. In addition, SCOPE will continue its legacy of critically-acclaimed VIP Programming with strategic partnerships, a focused schedule of events, and talks.

The first fair to run concurrent with The Armory Show, SCOPE New York’s spirit of innovation has consistently forged the way for emerging artists and galleries. Attuned to nuances in the market and itself an influential force in the cultural sphere, SCOPE continues to usher in a new vision of the contemporary art fair.

SCOPE New York 2019 opens on Thursday, March 7, 2019, with the Platinum First View and VIP & Press Preview, and will run through Sunday, March 10, 2019. General Admission: $25

Thomas Canto

The concept of space and movement is rarely confined, defined or limited in Thomas Canto’s work. The organic structures of Thomas Canto’s works are also inspired by urban architectural environments which interplay humanity and functionality. For him, the dialect and exchange between human and architecture is as prominent a subject matter as the elements of color, line, form and shadow in his work. The sculptural and painting aspects of Canto’s concepts play a role within the perception of how the spectator immerses himself into the work itself. Depth, geometry, and illusion are intricately intertwined in each work, drawing into questioning how humanity and created material respond to one another.

SCOPE is delighted to have Mirus Gallery bring Thomas Canto to SCOPE New York where he will be creating a site-specific installation at the front of the fair to welcome our guests.

VOLTA

NEW YORK, JANUARY 29, 2019: VOLTA New York returns to Pier 90 for its twelfth edition in
New York City, from March 6 – 10, 2019, concurrent with Armory Arts Week and the 25th
anniversary of its neighbor, The Armory Show. VOLTA promotes its mandate of “global vision –
solo focus
” by welcoming 70 international exhibitors across North America and the Caribbean, Africa, Europe, and Asia, and presenting established and emerging artists from 37 nations.

General Admission: $25

Art Work Images | 2019

Chelsea Galleries – 2019

Paula Cooper Gallery – Sarah Charlesworth

Organizing her practice in distinct yet closely interconnected series, Charlesworth is known for her conceptually-driven and visually alluring photo-based works that subvert and deconstruct cultural imagery. The exhibition focuses on a pivotal period in which she merged the photo-conceptual strategies of her early education with those of quotation, appropriation, and re-photography that would come to define the Pictures Generation. “I’m exploring a level of unconscious engagement in language, a covert symbology … a personal as well as a societal confrontation,” Charlesworth stated in an interview in 1990. “A symbolism is attached to particular images, becomes marked in the unconscious. To exorcise it, to rearrange it, to reshape it, to make it my own, involves unearthing it, describing it, deploying it in form, and then rearranging it.”1

In her earliest series, Modern History (1977-79), Charlesworth examined the contextual significance and complex structures that underlie images reproduced in the media. Comprised of twenty-six prints, the work Herald Tribune, November 1977 (1977) presents copies of the newspaper’s front page over the course of one month—each systematically excised of all text so that only the paper’s masthead and images remain. Emergent from the sequence of redacted pages are striking visual patterns, which reveal cultural hierarchies imbedded in the media. They implore viewers to consider what is deemed “news,” how this directly and indirectly affects one’s understanding of society, and what role images play in communicating these ideas.

Galerie Lelong – Michelle Stuart

Stuart is widely celebrated as a pioneer of land art with her groundbreaking hybrid uses of earth, drawing, and photography in the 1960s and ’70s. In recent years, Stuart’s photography has developed into a crucial part of her practice and garnered international recognition. Central to the exhibition is a new work, These Fragments Against Time (2018), which combines photography with found objects and sculptural forms. At the fore is a collection of anthropological curiosities that compare the work’s looming images of cosmic observation with the passage of time, life, and death, that animal bones and fossils evoke. As is true of much her work, Stuart personally traveled to a site, collecting materials that became part of the piece. Stuart recalls, “We hired a sailboat, The Jupiter, and its crew, and we sailed it thirty miles out to sea offshore of the Carolinas in order to photograph the solar eclipse as it was passing out into the Atlantic.”

Similarly, Flight of Time (2016), from which the exhibition takes its name, intersperses found photography with the artist’s own images to coalesce a myriad of movements in nature, from entomology to botany. Originally exhibited at the 57th Venice Biennale, VIVA ARTE VIVA in 2017, this will be the first time the work is shown in the United States. Stuart also confronts challenging questions about human behavior in the Anthropocene epoch. In While We Went About Etherized(2012) and Landscape of Evil (2008-11), Stuart interweaves images of war with primal scenes in nature.

Printed Matter – Bookstore

Marlborough Contemporary – Mark Hagan

“This exhibition is a love letter to Mexico and is dedicated to the artists, artisans and factory owners who have helped me make art there over the years. Especially José Noé Suro, who invited me to his ceramic factory in Guadalajara back in 2012. I draw inspiration daily from our exchanges and dialogues. Also to Alfonso Muñoz Cruz, Victor Alfonso Muñoz Rivera, and César Alba Hernández for their indispensable assistance with this new obsidian sculpture, which shares its title with that of the exhibition, named after the fantastic and far-roaming Paleolithic giants that are continually being unearthed throughout Mexico, 271 of them to date”. — MH

This exhibition marks the New York debut of Hagen’s new series of monochromatic relief paintings, which have been in development over the past two years. These works—originally inspired by the geometric folded paper experiments of Josef Albers at the Bauhaus and Black Mountain College—start as full-sized, precisely folded paper objects that are then punctuated by catastrophes, that is, violent interruptions of their visual logic with self-affirming crumples and intentional distortions introduced by the artist’s hand, opposing their objectivity.

From these paper originals the artist makes latex molds, inverted forms that are then “painted-in,” layer after layer with colorfully pigmented, inchoate acrylic pastes, which harden into casts of these dimensional structures. The result is the production of self-reflexive objects whose repetitive casting is mirrored in its image of repetitious facets and patterns. The use of molds, in effect, results in the creation of works that are both gestural yet serialized, discreet yet continuous, linear and cyclic, autonomous yet something apart of a totality that is forever “in-potentia.”

Gagosian – Georg Baselitz

There have always been portraits throughout art history. But more important than the subject has always been the artist himself. . . . I call this exhibition Devotion because the people I portray here are especially meaningful to me.
—Georg Baselitz

A pioneering Neo-Expressionist, Baselitz employs raw, painterly gestures to create visceral compositions with an intense emotional charge. By continually reinterpreting artistic precedents—his own previous works included—he has returned the figure to a central place in painting while expanding the very definition of abstraction.

Baselitz’s interest in portraiture emerges from his fascination with memory and its inconsistencies, as well as his observation that every painting—even a portrait of another person—is the artist’s self-portrait. At the Kunstmuseum Basel, he saw Henri Rousseau’s The Muse Inspires the Poet (Marie Laurencin and Guillaume Apollinaire) (1909) and assumed that the depicted couple was Rousseau and his wife—only to discover later that the painting shows the poet Apollinaire and his muse, painter Laurencin. This realization gave rise to a new line of inquiry for Baselitz. Over the past year, he has intensified his ongoing engagement with images of the past, producing paintings and drawings based on artists’ self-portraits. As he works, in paint or ink, he recalls the effects of each portrait and captures them in his own unique style.

Jia Aili – Gagosian

The work of the Chinese artist Jia Aili (1979 in Liaoning) possesses an unparalleled intensity. Whether reflecting on China’s inauguration of the atomic bomb or the first satellites in 1970, the theme of Aili’s oil paintings is the dramatic transformation of Chinese society over the past 50 years. 

Ian Cheng: BOB – Gladstone

BOB advances Cheng’s use of simulation to focus on an individual agent’s capacity to deal with surprise: the subjective difference between expectations and perception. Over the course of its lifetime, BOB’s body, mind, and personality evolve to better confront the continuous stream of life’s surprises, and metabolize them into familiar routines. Crucially, BOB incorporates the tutoring influence of the viewer to help offset BOB’s temptation to only satisfy its immediate impulses and childhood biases. As BOB dies many deaths – whether through failures of personality, bad parenting, random accident, or a life well lived – BOB may become synonymous with a reoccurring pattern of behavior, common across all BOB lifetimes, thereby manifesting the undying eternal characteristic of a god.

BOB features a unique model of AI composed of a congress of motivating “demons” and an inductive engine capable of learning rule-based beliefs from sensory experiences. Each demon functions as a micro-personality who obsessively attempts to fulfill its own micro-story. An eater demon forages for the food, a flight demon evades the threat, an explorer demon seeks that which lacks beliefs, among many others. Together the demons compete with one another for control of BOB’s body. The controlling demon operates under the premise that progress = minimal surprise: the smallest difference between the beliefs required by its micro-story and its current sensory perceptions. Great surprises upset BOB, causing emotional upheaval, but in turn signal BOB to update its beliefs. Over its lifetime, BOB may learn to apply its beliefs onto even the most outlandish stimuli, choosing to infer even a bad first impression and avoid being thrown into chaos in the present, but at the cost of further surprisal in the future.

Viewers who wish to influence BOB’s life may do so via BOB Shrine, a free iOS app available worldwide. Once downloaded, opened, and named, BOB Shrine allows viewers to publish patterns of stimuli to BOB, as well as caption their stimuli with a parental directive. BOB Shrine then automates the production of stimuli for BOB to choose without any further necessary engagement from the viewer. In return, BOB deposits special rewards to shrines it judges to be trustworthy parental forces. Visit https://bobs.ai/ for more details.

Jennifer Steinkamp – Lehmann Maupin

The centerpiece of the exhibition is Steinkamp’s Impeach (2019). Previously exhibited as a printed billboard in “Jam, The Billboard Creative,” a public art project organized by Mona Kuhn and Alex Prager in Los Angeles in 2017, Impeachhere bursts to life as a digital animation for the first time. A mash-up of stage diving fruit, especially peaches, plunging themselves against an invisible wall, the work hints at the possibility of a new spring for America should the titular political and legal process be set in motion, as well as the destruction left in the wake.

Also featured in the exhibition is Blind Eye 3 (2018). One of a suite of animations inspired by the landscape that surrounds the Clark Art Institute in Williamstown, Massachusetts—the site of a major exhibition of Steinkamp’s work in 2018—this panoramic projection depicts a monocular frontal view of a dense forest of birch trees. The title references what it like to see with an eye closed and the characteristic ocular scars that are left behind when branches fall from a tree, somewhat resembling an uncanny gaze. As the trees sway—sometimes quite violently, sometimes in concert—their leaves fall, revealing an implied sense of depth. But this process unfolds, as is the case in all Steinkamp’s works, without beginning or end; while the allusion to the changing seasons is clear, Blind Eyeexists outside linear narrative, in a continuous moment.

Beyond its natural imagery, Blind Eye is also, in its nod to famous precedents in the paintings of Gustav Klimt and Vincent Van Gogh, emblematic of Steinkamp’s consistent application of art-historical reference. The other works in the exhibition reveal comparable influences; in Womb (2018) for example, the artist establishes a connection with Dutch Golden Age still life painting. Womb is an interactive VR installation that allows the viewer-participant to manipulate (and collide) projected 3-D fruit by using a handheld controller. The work’s title alludes to fruit as a plant’s defacto ovaries, extending Steinkamp’s longstanding interest in the female oriented function of seeds, spores, weeds, and, more broadly, the blossoming of complex and far-reaching ideas from the most outwardly simple origins.

A third work, Retinal (2018) was made in direct response to architect Steven J. Holl’s design for an addition to the Bloch Building of the Nelson-Atkins Museum of Art in Kansas City, Missouri (it was featured in “Open Spaces,” an exhibition curated for the museum and surrounding Swope Park by Dan Cameron in 2018). Discovering that Holl refers to the structure’s windows as “lenses,” Steinkamp produced an eye-like animation that hints at the translucent, refractive appearance of optical veins. The work’s drifting clusters of green, pink, and purple forms have the slick look and acidic coloration of candy, while the amorphous shapes and busy, all-over composition forge links to biomorphic and expressionist abstraction.

In gathering significant works originally created in the context of major exhibitions, Impeach offers a valuable reminder of the breadth and ambition of Steinkamp’s practice, and of the important historical position she holds as one of the first artists to experiment with constructing imagery—including color, texture, and movement—by wholly digital means. By simulating natural movement in cycles that are at once familiar seeming and entirely unique, Steinkamp conjures the uncanny impression of artificial life. To this existing element of internal contradiction, the present exhibition’s title adds an allusion to current social and political tension—and the hope of eradicating the corruption.

NYC 2019 Brooklyn Museum Exhibitions Emily Gelinas-Darrall

Rob Wynne is a New York based artist born in 1950 who works in a variety of different mediums. These mediums range from hand-embroidered paintings and collage to sculpture and digital photography. The work we will be viewing from him is made with molten glass, using hand-poured and mirrored glass in a series of large-scale installations, several of which are on display. Also featured are his glass texts, in which the artist borrows words or phrases detached from their original contexts in order to generate cryptic or contradictory meanings.

The title of Wynne’s gallery activation alludes to the ephemeral nature of images. Featuring sixteen works—seemingly floating within the American Art galleries and placed in direct dialogue with selected works from the collection—the installation invites a creatively disruptive aesthetic experience. Wynne’s mirrored glass pieces explore, and slightly skew, how we experience works of art—creating reflective pauses and jolts of surprise that reveal the collection anew.

“I’m not a trained glass artist. So when I started this experimentation, it was purely by accident. I was holding a ladle of glass and it slipped out of my hand and spilled onto the floor, making a huge splat, which was absolutely spectacular.” – Rob Wynne

One: Do Ho Suh features a single, large-scale work by Korean-born artist Do Ho Suh, whose work engages with migration and cultural displacement. The Perfect Home II is a full-scale re-creation of the artist’s former apartment in the Chelsea neighborhood of New York City and his home for 19 years. Visitors are invited to walk through the hand-sewn, translucent fabric replica, which includes details such as light fixtures, radiators, and even an intercom.

Drawing on a longing for home, feelings Suh initially experienced as an immigrant, the work highlights the important connections we make between physical places and memory. Currently based in London, Suh, like other globally acclaimed artists, lives a nomadic existence, traveling from city to city to execute commissions and participate in exhibitions. But having created sculptures that allow him “to carry my house with me,” he is at home wherever he is.

South Korean artist Kwang Young Chun combines hundreds of paper-wrapped parcels to create sculptural compositions, called Aggregations, that look like crystal formations, asteroids, or the surface of the moon. The Aggregations are simultaneously Space Age and nostalgic, beautiful and violent, powerful and fragile. They draw on the artist’s training in abstract painting as well as memories of his childhood, when Korean apothecaries sold medicine in similar little bundles.

Each parcel is wrapped in old book pages, printed in the traditional manner on Korea’s celebrated mulberry-pulp paper, called hanji. Chun compares the parcels to cells or units of information, and sees analogies to both chemistry and the human condition in the ways that the parcels interact physically: sometimes meshing, sometimes clashing. He compares the fragmentary passages of text on the wrappers—most taken from classics of Korean and Chinese philosophy—to voices overheard in a crowd.

Judson Church – Jeff Grimes

Judson Church was founded by Edward Judson in 1892. The church rose in popularity in the 60s and 70s for avante garde artist and LGBT protests and gatherings. The church also opened a drug treatment clinic and small low cost abortion clinic. They supported women’s rights along with a lot of women’s rights activism. When the AIDS epidemic broke out in the 1980s the church also provided support and even medical help. The church also holds dancing which was originally brought in by the artists along with singing.

Judson church also had one of the first Off-Off-Broadway movements and dance theatres.

Today the church is still in use and holds very much the same purpose in society as it did in the early 60s and 70s.

La Monte Young’s “Dream House

This “house” was created in 1993 by Young and his wife Marian. They used sound and color in the house to create a new sound light environment. The space was created to lose sense of time and worries. When walking into the room you are hit by the aroma of incense and a fuzzy neon sign that reads “The Dream House”. There is a carpet and meditation pads and you are not allowed to wear shoes. Many say the effects of the house have the feel of being on drugs particularly LSD.

Museum of Modern Art

Exhibitions for March 2019

Presented by Anoki Gibbs

Collection Galleries 1880s – 1950s (Ongoing)

An exploration of art styles and artists between the 1880s and the 1950s. This ongoing exhibition features a rotating selection of the museum’s collection of art which includes Monet, Van Gough, Matisse, and others. Selections are from a wide variety of art styles.

Jerry Lewis: The Nutty Professor Storyboards (Through March 3)

Art storyboards from the production of the movie The Nutty Professor (1963). These colorful boards show various aspects of blocking, stylistic choices, and production notes.

The Long Run (Ongoing)

The Long Run features a wide range of art, taken from MOMA’s extensive collection, features works of artists with long careers as they explore the limits of their materials and creativity. These works are largely experimental and show the process of art creation as artists push themselves to continue the creative process and find new ways of expressing themselves. 

The Value of Good Design (February 10 – May 27, 2019)

A continuation of the Good Design initiative, this exhibition focuses on the impact of affordable well designed products on society. Starting in the 1930s, the Good Design initiative has showcased everyday household objects that are the height of good design. Can good design change the way people look at everything from daily household chores to socioeconomic development? 

  • https://www.moma.org/calendar/exhibitions/1219?locale=en
  • https://www.moma.org/calendar/exhibitions/5020?locale=en
  • https://www.moma.org/calendar/exhibitions/3879?locale=en
  • https://www.moma.org/calendar/exhibitions/5032?locale=en

The Metropolitan Museum of Art Exhibits (2019 NYC Trip)

Brief History of  the Met

A group of Americans staying in Paris, France in 1866 are responsible for the founding of the Metropolitan Museum of Art. John Jay was the first one who came up with the idea and they agreed. Upon his return to the United States, he lead the Union League Club in New York to gather other civic leaders, businessmen, artists, art collectors, and philanthropists to help make the idea a reality. The Museum first opened on April 13, 1870. It was originally located in the Dodworth Building at 681 Fifth Avenue. The first object there was a Roman sarcophagus. Today, tens of thousands of objects are on view at any given time in the Museum’s two-million-square-foot building.

The museum was relocated to the Douglas Mansion briefly before ending up in its current location on Fifth Avenue and 82nd Street, and it opened to the public once more on March 30, 1880. The initial structure by the architects Calvert Vaux and Jacob Wrey Mould was of Ruskinian Gothic design; however, many additions have been added to the museum since. The additions completely encompass the original building.

https://www.metmuseum.org/about-the-met/history

Exhibits

In Praise of Painting, Dutch Masterpieces at the Met

Exhibition Overview (October 16, 2018 – October 4, 2020)
Dutch paintings of the seventeenth century—the Golden Age of Rembrandt, Hals, and Vermeer—have been a highlight of The Met collection since the Museum’s founding purchase in 1871. This exhibition brings together some of the Museum’s greatest paintings to present this remarkable chapter of art history in a new light. Through sixty-seven works of art organized thematically, In Praise of Painting orients visitors to key issues in seventeenth-century Dutch culture—from debates about religion and conspicuous consumption to painters’ fascination with the domestic lives of women.

The exhibition provides a fresh perspective on the canon and parameters of the Dutch Golden Age by uniting paintings from Benjamin Altman’s bequest, the Robert Lehman Collection, and the Jack and Belle Linsky Collection. Works typically displayed separately in the Museum’s galleries—such as Rembrandt’s Gerard de Lairesse and Lairesse’s own Apollo and Aurora—are presented side by side, producing a visually compelling narrative about the tensions between realism and idealism during this period. The presentation also provides the opportunity to conserve and display rarely exhibited paintings, including Margareta Haverman’s A Vase of Flowers—one of only two known paintings by the artist and the only painting by an early modern Dutch woman currently in The Met collection. The exhibition takes its title from one of the period’s major works of art theory, Philips Angel’s The Praise of Painting (1642), a pioneering defense of realism in art.

Overview & Image From
https://metmuseum.org/exhibitions/listings/2018/in-praise-of-painting-dutch-masterpieces

Streams and Mountains without End: Landscape Traditions of China 

Exhibition Overview (August 26, 2017–August 4, 2019)
“From the standpoint of splendid scenery, painting cannot equal [real] landscape. But when it comes to the wonders of brush and ink, [real] landscape is no match for painting!”
Dong Qichang (1555–1636)

About a thousand years ago, the Chinese landscape painter Guo Xi posed the question, “In what does a gentleman’s love of landscape consist?” This question is at the heart of the exhibition, which explores the many uses of landscape in the Chinese visual arts.

This exhibition, which showcases more than 120 Chinese landscape paintings in four rotations, offers insights into the tradition, revealing distinctions between types of landscape that might not be obvious at first glance. What appears to be a simple mountain dwelling, for example, turns out to be the villa of the painter’s friend, encoding a wish for his happy retirement. Similarly, what seems at first to be a simple study in dry brushwork turns out to be an homage to an old master, an expression of reverence for what has come before.

Drawn primarily from The Met’s holdings and supplemented by a dozen private loans, the presentation is augmented by decorative art objects with landscape themes.

Overview & Image From
https://metmuseum.org/exhibitions/listings/2017/streams-and-mountains

Monumental Journey, The Daguerreotypes of Girault De Prangey 

Exhibition Overview (January 30–May 12, 2019)

In 1842, artist, architectural historian, archaeologist, and pioneer photographer Joseph-Philibert Girault de Prangey (1804–1892) embarked on a three-year photographic excursion

throughout the Eastern Mediterranean, and he returned to France with more than one thousand daguerreotypes—an unparalleled feat in the history of photography. Among the images he created are the earliest surviving photographs of Greece, Egypt, Turkey, Lebanon, Syria, and Jerusalem and among the first daguerreotypes depicting Italy.

A trailblazer of the daguerreotype process, Girault used oversize plates and innovative formats to produce what is today the world’s oldest photographic archive—all in the service of a brand-new type of archaeological fieldwork. This exhibition, the first in the United States devoted to Girault, and the first to focus on his Mediterranean journey will feature approximately 120 of his daguerreotypes, supplemented by examples of his graphic work—watercolors, paintings, and his lithographically illustrated publications.

Overview & Image From
https://metmuseum.org/exhibitions/listings/2019/monumental-journey-girault-de-prangey-daguerreotypes

The Tale of Genji, A Japanese Classic Illuminated 

Exhibition Overview (MARCH 5–JUNE 16, 2019)

This will be the first major loan exhibition in North America to focus on the artistic tradition inspired by Japan’s most celebrated work of literature, The Tale of Genji. Written by Murasaki Shikibu, a lady-in-waiting in the early eleventh-century imperial court, and often referred to as the world’s first psychological novel, the tale recounts the amorous escapades of the “Shining Prince” Genji and introduces some of the most iconic female characters in the history of Japanese literature. Covering the period from the eleventh century to the present, the exhibition will feature more than 120 works, including paintings, calligraphy, silk robes, lacquer wedding set items, a palanquin for the shogun’s bride, and popular art such as ukiyo-e prints and modern manga. Highlights include two National Treasures and several works recognized as Important Cultural Properties. For the first time ever outside Japan, rare works will be on view from Ishiyamadera Temple—where, according to legend, Shikibu started writing the tale.

Overview & Image From
https://metmuseum.org/exhibitions/listings/2019/tale-of-genji

NYC History and Boroughs

 

 

One of the most Diverse City in the United States due to the legal gateway for the Immigration Law There are five different Boroughs in NYC composed of  Manhattan, Brooklyn, Queens, the Bronx and Staten Island they each have their own President stationed.

Manhattan- is the main part of the city and has the tallest skyscrapers known to man like the legendary empire state Building and the iconic Time Square that has been a historical monument for the great big pictures on the big screen.

Brooklyn- is directly under the Brooklyn bridge, it best known for famous celebrates like Barbra Streisand, Eddy Murphy, Cyndi Lauper, Jennifer Connelly and Woody Allen are just some of the many born in Brooklyn, not to mention, athletes such as Michael Jordan and Mike Tyson. it also holds the second largest museum in New York called the “Brooklyn Museum of Art”

Queens- Queens is based on art, tourism and cinema, after the temporary installation of the MoMA during its renovation between 2002 and 2004 and the inauguration of P.S.1 Contemporary Art Center, the area has become more touristy, especially for art lovers.

The Bronx- During the twentieth century, the Bronx was known for its gang activities and for its poverty stricken neighborhoods. Is also the cradle of rap and hip hop. Over 75 different languages are spoken on its streets, although English and Spanish prevail over the rest. The top attractions are the Bronx Zoo, Yankee stadium, and New York Botanical Garden

Staten Island- surprising attractions to visit is Historic Richmond Town, a restored rural town with houses dating from the seventeenth century and Fort Wadsworth, a fort built by the Dutch during the seventeenth century, which served to protect New York from the incursions of enemy ships.

China Town and Little Italy

The Chinatown and Little Italy neighborhoods in Manhattan were forged in American history, from the mid 19th to the early 20th century; a time when waves of immigrants from all corners of the world came to New York seeking opportunity. New York City and, in particular, the neighborhood of Chinatown and Little Italy,

 

 

 

Met Museum of Art Exhibitions

Leon Golub- Raw Nerve https://www.metmuseum.org/exhibitions/listings/2018/leon-golub
Provocations: Anslem kiefer at the met bruar https://www.metmuseum.org/exhibitions/listings/2017/anselm-kiefer
dangerous Beauty: Medusa in classical art https://www.metmuseum.org/exhibitions/listings/2018/dangerous-beauty
https://www.metmuseum.org/exhibitions/listings/2017/quicksilver-brilliance

DIA: Beacon

Dan Flavin (April 1, 1933 – November 29, 1996) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures.


Walter De Maria (October 1, 1935 – July 25, 2013) was an American artist, sculptor, illustrator and composer, who lived and worked in New York City. Walter de Maria’s artistic practice is connected with Minimal art, Conceptual art, and Land art of the 1960s.


Robert Smithson (January 2, 1938 – July 20, 1973) was an American artist who used photography in relation to sculpture and land art.


On Kawara

Known collectively as Today (1966–2013), On Kawara’s Date Paintings record nothing more than the date on which they were made. For each work in the series—Kawara produced nearly 3,000 of them over more than four decades—the artist observed a strict set of rules, inscribing the exact date he created the painting in white letters and numbers on a monochromatic ground.


Solomon “Sol” LeWitt (September 9, 1928 – April 8, 2007) was an American artist linked to various movements, including Conceptual art and Minimalism.

LeWitt came to fame in the late 1960s with his wall drawings and “structures” (a term he preferred instead of “sculptures”) but was prolific in a wide range of media including drawing, printmaking, photography, painting, installation and artist’s books. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965.


Michael Heizer (born 1944) is a contemporary artist specializing in large-scale and site-specific sculptures. Working largely outside the confines of the traditional art spaces of galleries and museums, Heizer has redefined sculpture in terms of size, mass, gesture, and process. A pioneer of Land Art, he is renowned for awe-inspiring sculptures and earthworks made with earth-moving equipment, which he began creating in the American West in 1967. He currently lives and works in Hiko, Nevada and New York City.

MOMA

Club 57: Film, Performance, and
Art in the East Village, 1978–1983

The East Village of the 1970s and 1980s continues to thrive in the global public’s imagination. Located in the basement of a Polish Church at 57 St. Marks Place, Club 57 (1978–83) began as a no-budget venue for music and film exhibitions, and quickly took pride of place in a constellation of countercultural venues in downtown New York fueled by low rents, the Reagan presidency, and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. A center of creative activity in the East Village, Club 57 is said to have influenced virtually every club that came in its wake.

Club 57: Film, Performance, and Art in the East Village, 1978–1983 is the first major exhibition to fully examine the scene-changing, interdisciplinary life of this seminal downtown New York alternative space. The exhibition will tap into the legacy of Club 57’s founding curatorial staff—film programmers Susan Hannaford and Tom Scully, exhibition organizer Keith Haring, and performance curator Ann Magnuson—to examine how the convergence of film, video, performance, art, and curatorship in the club environment of New York in the 1970s and 1980s became a model for a new spirit of interdisciplinary endeavor. Responding to the broad range of programming at Club 57, the exhibition will present their accomplishments across a range of disciplines—from film, video, performance, and theater to photography, painting, drawing, printmaking, collage, zines, fashion design, and curating. Building on extensive research and oral history, the exhibition features many works that have not been exhibited publicly since the 1980s.

https://youtu.be/fl6TBQSncuE

MOMA PS1

Carolee Schneemann:
Kinetic Painting

MoMA PS1 presents the first comprehensive retrospective of Carolee Schneemann, spanning the artist’s prolific six-decade career. As one of the most influential artists of the second part of the 20th century, Schneemann’s pioneering investigations into subjectivity, the social construction of the female body, and the cultural biases of art history have had significant influence on subsequent generations of artists. Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist’s early paintings of the 1950s and their evolution into assemblages made in the 1960s, which integrated objects, mechanical elements, and modes of deconstruction. In the late 1960s Schneemann began positioning her own body within her work, performing the roles of “both image and image-maker.” As a central protagonist of the New York downtown avant-garde community, she explored hybrid artistic forms culminating in experimental theater events. The exhibition considers Schneemann’s oeuvre within the context of painting by tracing the developments that led to her groundbreaking innovations in performance, film, and installation in the 1970s, as well as her increasingly spatialized multimedia installations from the 1980s, 1990s, and 2000s.

Cathy Wilkes

Installation view of Cathy Wilkes, on view at MoMA PS1 from October 22, 2017 to March 11, 2018. Image courtesy of MoMA PS1. Photo by Pablo Enriquez.

MoMA PS1 presents the first monographic exhibition of Cathy Wilkes (Irish, b. 1966) in New York. The largest exhibition of the artist’s work to date, Cathy Wilkes features approximately 50 works from public and private collections throughout Europe and North America as well as new pieces created for the show, offering a broad view of Wilkes’s work since 2004. The exhibition is organized in conjunction with Wilkes’s receipt of the first Maria Lassnig Prize, awarded by the Maria Lassnig Foundation in 2016.

Over more than two decades, Cathy Wilkes has created a body of work that engages with the rituals of life, combining paintings, drawings, sculptures and objects both found and altered. Regularly employing materials drawn from her domestic life and environment in Glasgow, Wilkes’s installations connect the banalities of daily existence to larger archetypes of birth, marriage, child-rearing, and death. This combination of the personal and universal parallels a meditation at the heart of her work, in which Wilkes’s art enacts an exercise in empathy, exposing deeply felt subjective experiences while also insisting upon the fundamentally private nature of artmaking.

Wilkes is one of the most important artists of her generation, having emerged in the late 1990s and exhibited with greater frequently over the past fifteen years. Her individual installations and larger exhibitions are marked by arrangements of objects that appear both precarious and precise, vulnerable and brutal. She often recomposes older pieces into new variations, and has more recently applied a similar approach to the design of her solo exhibitions. Repurposing select elements of extant works and combining them into new installations, Wilkes passes by the “retrospective” structure of a mid-career exhibition, confounding our experiences of past and present and challenging conventions of art history that would seek to interpret her work in a clear progression.

Eschewing the framing or supports typical to exhibition display, Wilkes emphasizes a direct interaction with her work. There are no pedestals for her work; vitrines are inverted into open containers. As such, limited numbers of visitors are invited to carefully wander among installations whose boundaries are not always obvious or easily discernable, heightening our attention to the shifting relationships she creates between the various elements that comprise her works. In Wilkes’s practice, the process through which art transforms the commonplace has less to do with modern displacements of the readymade than with more cyclical, ancient systems of magical belief. “All objects can become transcendental,” she has noted, even though she feels there is “no need for someone to fully understand.” Wilkes’s art is best approached as a markedly subjective and singular vision—a private world that nevertheless evokes common instabilities and human vulnerabilities recognizable far beyond the confines of her studio.