artblog goes to florida, california and new york too.

Kevin Beasley, "Untitled, 2014," Polyurethane foam, resin, shorts, t-shirt, underwear, cotton rag and zip ties, 10 x 15 x 13 inches. Photo by Adam Reich, courtesy of The Studio Museum in Harlem.

Material Histories presents its artists in residence at The Studio Museum in Harlem

[Rachel visits an exhibition featuring the work of three artists whose Harlem neighborhoods inform their work. — the artblog editors] A residency for any artist is a time to reflect. Invited into a new space, setting, and sense of pace, the artist is given the opportunity to foster his/her artistic process, while actively exploring a new community. Since 1968, the Artist-in-Residence program at The Studio Museum in Harlem has been enabling visual artists of African and Latino descent to do just that–explore themselves, and explore Harlem. Neighborhood influence Material Histories, on view at The Studio Museum through October 26, 2014, features ... More » »

James Lee Byars Untitled (‘Performable Scroll’) c. 1967, courtesy Michael Werner Gallery

Performing the dead and other questions around museums and authenticity

[Andrea considers the evolution of art’s “authenticity”; museums’ fetishistic need to present original works; and the practice of replicating pieces as “exhibition copies”. — the artblog editors] I received notice from MoMA that on August 17 and September 7, the museum is hosting performances by James Lee Byars, in connection with the retrospective of his work at P.S. 1. Since the artist is long-dead, what exactly is the museum presenting? Byars did many performance pieces–indeed, his life sounds like an extended performance. Some of Byars’ performances involved another person interacting with an object of the artist’s making, and Byars donated ... More » »

Lygia Clark wearing Máscara abismo com tapa-olhos (Abyssal mask with eye-patch, 1968), a work made of fabric, elastic bands, a nylon bag, and a stone, in use. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro. Photograph Credit: Sergio Gerardo Zalis, 1986.

Lygia Clark: The Abandonment of Art, 1948–1988 at MoMA

[Natalia offers a wonderfully in-depth exploration of MoMA’s Lygia Clark retrospective, spanning from the artist’s first paintings to her later interactive installations. — the artblog editors] Currently on view at the Museum of Modern Art, Lygia Clark: The Abandonment of Art, 1948–1988 is the first comprehensive retrospective in North America devoted to the artistic practice of the Brazilian-born, experimental artist known for her participatory works that engage the interaction of the spectator. Divided into three distinct sections, the exhibition explores the entirety of Clark’s massive oeuvre, including her paintings, sculptures, participatory works, and installation pieces. Leaving the confines of canvas ... More » »


David Novros mural at Donald Judd’s Spring Street home and studio; the ups and downs of permanently-sited works

[Andrea visits David Novros’ recently restored site-specific work, and discusses the pros and cons of creating art destined for one space. — the artblog editors] In mid-June, I joined a small group to celebrate the recent restoration of David Novros’ untitled mural (1970) at Donald Judd’s Spring Street home and studio, which is under the auspices of the Judd Foundation. It was one of two works–the other a large, light work by Dan Flavin–that Judd commissioned for the five-story, cast-iron industrial building at 101 Spring St., which he purchased in 1968. Judd and Novros both felt strongly that the siting ... More » »


Inorganic chemistry — sexual synthesis at M+B Gallery

[Nate visits a show juxtaposing the at-the-time groundbreaking work of Pierre Molinier with new drawings by contemporary artist Aurel Schmidt. — the artblog editors] In major American cities such as Los Angeles and New York, assertions of sexual identity are no longer the risky phenomena they once were. President Obama’s recent announcement of June as LGBTQIA Pride Month–a gesture of support on behalf of the federal government–attests to the changing climate of a country that has for so long ignored the very real, very serious lives of its queer citizens. This change must be taken into account when examining the ... More » »

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Joe Fleming’s Suckerpunch at Mike Weiss Gallery

[Evan reviews an off-the-wall show that strays a bit too far in pursuit of perfection, and concludes that the paintings’ real success lie in their minor details. — the artblog editors] Suckerpunch is Toronto artist Joe Fleming’s first solo New York exhibition, taking place at Mike Weiss Gallery in Chelsea. Here, Fleming displays a series of paintings with a strong sculptural bent, using recycled materials, graphic geometric shapes, and gestural line and brush work. He’s clearly influenced by Pop Art and cultural iconography, and his geometrical forms are evocative and self-referential. Works fuse with the wall Fleming’s paintings are extremely textured. ... More » »


99 works for 99¢ and up

[Nate visits a brand-new gallery aiming to connect audiences with artwork through practical pieces and low price points. — the artblog editors] In modern-day Brooklyn, the rapid influx of young, creative individuals into un-gentrified neighborhoods has led to a rise in small-scale art galleries and studio spaces. While some of these places interact little with the communities in which they reside, other galleries effectively fuse participation with exhibition; enter 99¢ Plus Gallery, a gallery and studio space based in Bushwick, Brooklyn. The gallery’s inaugural show, entitled 99¢ Plus Art Shop, features 99 works priced between $0.99 and $9.99. The product ... More » »


Drawing closer to uncertainty — Kit White at Andre Zarre

[Andrea examines why painter Kit White has recently radically changed his style–perhaps it’s a reflection on his environment. — the artblog editors] In his recent paintings, on exhibit at Andre Zarre Gallery, New York through May 10, 2014, Kit White has pared his palette back to black, white, and gray. Each of the ostensibly abstract works has a horizon line, so that thinking of them as landscapes doesn’t seem overly interpretive. The artist sometimes drags a thick gray band of paint below the horizon, sometimes bringing it into the upper register as well, where several paintings have a light staccato ... More » »


“Carrie Mae Weems LIVE: Past Tense/Future Perfect” at the Guggenheim

[Andrea experiences a two-day multidisciplinary event involving music, visual and performance art, presentations, and discussions centering around notable African-American artwork, thought, and creativity]. — the artblog editors] Until this weekend, I’d never experienced crowd fervor aroused for a loftier goal than football. “Carrie Mae Weems LIVE” dramatically changed that. I was challenged, engrossed, stretched, and deeply moved by a showcase of current African-American artists, critics, and scholars. It was a heady experience to be with a majority African-American audience in a major, New York museum for two-and-a-half days that celebrated, discussed and analyzed African diasporic creativity. High time for this ... More » »

Richard Renaldi, The Big Top, Geneva, Ohio (2012)

New York Roundup – Photos, jazz and mobs on the Highline

(Roberta goes to New York and sees a bunch of good things –the artblog editors) It’s always good to have a list, and between mine, Steve’s and my sister Cate’s, we saw a lot last weekend.  Much of it was good but there were some things we rolled our eyes at, and of course we only scratched the surface of the huge basket of goodies that is New York.  We also met up with friends, Chuck and Iris, saw a play and heard jazz.  Grey Art Gallery Cate’s list brought us to the big show Energy That is All Around, ... More » »

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