With a voice to pay attention in the fashion industry, the stylish guys from Art Comes First present another range of custom cut/wear for their tshirts and pants. ...On julio 28, 2014 / By STAFF
In the interest of efficiency please regard these lines as a press release and also as an artwork in their own right. In the interest of inefficiency [...]
In the interest of efficiency please regard these lines as a press release and also as an artwork in their own right. In the interest of inefficiency I’ve printed the page quite large. I’ve done so because objects estranged from their utility, like fruit picked from a branch, will gradually ripen and rot and it is widely agreed upon that “aesthetic” is a term which describes the most pungent and squishiest stage of this deterioration.
This historical harvest of art from life might have rendered the former useless but the distinction created a useful opportunity for arbitrage. To effectively extract value from this scenario though there had to be an equivalent or exchange rate between the two categories. Sculpture tends to suggest that this mechanism is the human body which is at one time equal parts image and guts, symbol and viscera, haptic fact and optic phantasm. As this is primarily a sculpture show I’ve decided to tow the party line, and though scale is perhaps the laziest way to get this point across, I think it’s the most straightforward.
At my local Chase bank A.T.M.s with O.C.R. (Optical Character Recognition) software have aestheticized the once handy deposit slip. I don’t know if the slips are gone, invisible, “infra-thin” or what, but I certainly can’t see them anymore. The desks designed for the retrieval of the slips still mope around though and they release whiffs of symbolic significance as they decompose. If I were Parisian, such scents might engender remembrances or foment nostalgia. Luckily for us I’m a New Yorker – brevity prone – and even the most fetid pile of fish heads turns my mind to real estate.
-Sebastian Black, 2014
june 20 (friday) 1:00 pm - august 6 (wednesday) 1:00 pm
Retrospective, New York
727 Warren St. Hudson NY 12534
The Whitney’s collection is the largest repository of Alexander Calder’s work in the world. Collecting Calder, one of two permanent collection displays on the Museum’s fifth-floor mezzanine, presents a [...]
The Whitney’s collection is the largest repository of Alexander Calder’s work in the world. Collecting Calder, one of two permanent collection displays on the Museum’s fifth-floor mezzanine, presents a selection of Alexander Calder sculptures and drawings, giving equal focus to the two major aspects of the artist’s oeuvre: Calder’s Circus and his later work in abstraction. For the former, Calder employed ordinary materials—wire, string, cork, wood, paper, bits of metal, and cloth—to create a miniature circus, whose acts he staged for friends and patrons as narrator and puppeteer between 1926 and 1931. His later mobiles, inspired in part by his visit to Piet Mondrian’s studio in 1930, use an ingenious system of weights and counterbalances that allowed each piece’s suspended parts to move in response to air currents, retaining the movement of the circus performances. A selection of these works are also on view along with a group of the artist’s stabiles, or static sculptures.
Collecting Calder is organized by Barbara Haskell, Curator.
july 17 (thursday) 1:00 pm - october 19 (sunday) 10:00 pm
Whitney Museum of American Art
945 Madison Avenue at 75th Street New York, NY 10021
Whitney Museum of American Art