2009, sunglasses, acrylic plaster, metal, PE, wood, gloss paint, synthetic plaster, 39 x 27 x 26 cm
|Bäh, Bäh, Bäh |
2008, plastic, acrylic plaster, PE, glass, metal, textiles, 22 x 13 x 17 cm
Eyeporium Gallery Exhibition Opening
"Paper+Paint" by Sarah Kretchmer and Marianna Levant
Opening Night is Friday, April 2, 2010
For more infomation, click here.
[Dakis] Joannou, a New Museum trustee, is friendly with Lisa Phillips, the museum's director. Her curator, Massimiliano Gioni, has worked previously with Joannou, and he oversaw the current three-floor Urs Fischer show. [Editor's note: Gioni is also apparently close with Joannou and they speak weekly]. Urs Fischer has curated shows for Joannou; Joannou also owns a good deal of Fischer's work. Fischer's art dealer is Gavin Brown, who also represents Elizabeth Peyton, Jeremy Deller, and Steven Shearer, all four of whom have had solo shows at the New Museum since it re-opened less than two years ago.
Our new design, a huge new server and fresh exciting directions have finally begun! Keep your eyes here for our electrifying plans. Thanks to Tim Olson for getting it all together, to Marianna Levant for the redesign and to Dave Roth for starting the transformation.
... Again - speaking of my condition - I am so grateful for yet another thing. I've noticed that others, too, hear sounds and strange voices during their attacks, as I did, and that things seemed to change before their very...I stumbled across this gem at the ever-so-indespensible Museum of Online Museums.
Letter from Vincent van Gogh to Theo van Gogh, 22 May 1889
In the summer of 2004 when I was teaching an introduction to contemporary art at the Anderson Ranch near Aspen, in Colorado, I came up with two ideas that I felt would help make sense of the confusion that prevails. Are we in a post-pluralist free-fall? Which direction is up? Who threw out the baby with the bath?
I was not convinced that art history and the art world were finished, yet the art world seemed at an impasse. Pluralism, long confused with anti-Leninist socialisms or, on an even deeper level, with polytheism, had been cast aside. Art was tied up in a knot, with no clear prerogatives and certainly without direction. But the term “direction” implies the dreaded Master Narrative that we have all tried to deconstruct, inadvertently letting it be replaced by…..the Market?
Perhaps it was not the end of art history, but the end of a certain restricted art history. Perhaps it was not the end of the art world, but the end of a certain kind of art world. I, of course, knew it was all rhetoric. Or as the Dadaists used to say, art is dead; long live art...........
Bicycle Wheel was the first of a class of objects that Duchamp called his "readymades." He created twenty-one of them, all between 1915 and 1923. The readymades are a varied collection of items, but there are several ideas that unite them.Don't be a hater!
The readymades are experiments in provocation, the products of a conscious effort to break every rule of the artistic tradition. in order to create a new kind of art -- one that engages the mind instead of the eye, in ways that provoke the observer to participate and think.
Severity of sculptures stems from caprice
Alan Artner Tribune art critic
August 3, 2007
David Roth's painted wood wall sculptures at the Packer Schopf Gallery have some of the severity of abstract wall reliefs by Russian Constructivists such as Ivan Puni. But their assertiveness is often of a very different kind that comes from the forms being pushed into the territory of caprice to relieve the modern high seriousness.