The artist Darren Bader (b. 1978) has won the Calder Foundations’s 2013 Calder Prize, presented to “contemporary artists who have completed exemplary work early in their careers and whose work can be interpreted as a continuation of Alexander Calder’s legacy.”
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There are two red apples on the ground inside Sadie Coles HQ’s Art Basel booth right now. Naturally, one might assume that these are works by New York artist Darren Bader, who is the master of such readymade works and is represented by Coles. Mr. Bader’s show at MoMA PS1 earlier this year included burritos, fresh vegetables and cats, and during Frieze in London he presented lasagna injected with heroin at Coles. Apples, in comparison, seemed rather tame. Was he taking a low-key approach to Miami Basel?
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The second show at the new Upper East Side gallery Venus Over Manhattan is filled with bulletin boards. (Disclosure: Venus Over Manhattan is owned by Observer contributor Adam Lindemann.) The West Village alternative space White Columns, which has been home to a bulletin-board exhibition space for a number of years, gave bulletin boards to more than 20 artists and art types and asked them to present something with it.
The stars have aligned. This weekend, New Yorkers can spend both Saturday and Sunday eating salad artworks.
On Satuday, at 3 p.m., salad will be served as part of Darren Bader’s great show at MoMA PS1, “Images.” (There are also burritos in the exhibition, but visitors are not allowed to eat them, as far as we know.)
Right now, there are two burritos sitting on a windowsill in a gallery at MoMA PS1 in Long Island City. About once a week, fresh burritos are brought in by a museum employee, and the old ones are discarded. Sometimes they are placed one on top of the other, and sometimes they are side by side. This is done in the name of art; chicken burrito, beef burrito is a sculpture by Darren Bader, part of his “Images” exhibition, which runs through May 14.
Though it sounds like a one-off prank, Mr. Bader’s burritos exemplify today’s most thrilling sculpture, which at the moment can be seen all over town, standing in stark contrast to the muscular, macho, hard-won objects of a John Chamberlain (whose Guggenheim retrospective is up through May 13). The new sculpture is deliriously playful, unstable (it changes over time: living, decomposing, collapsing, or threatening to) and frequently renewable. The readymade has returned in 21st-century rococo clothes, Duchamp’s legacy used for sinister, hallucinogenic and comical ends.