Curator Cecilia Alemani has recently been watching hi-tech gadgets, hipster snacks and bits of clothing get reduced to liquid in a blender. Artist Josh Kline is the man hitting the start button, preparing a sculpture that Ms. Alemani, the director of the High Line’s art program, has commissioned for her latest group show in the elevated park. The piece will be a commercial refrigerator stocked with smoothies designed for various lifestyles. The ingredients in the “Williamsburg” brew include kale chips, Kombucha and an American Apparel T-shirt. The “night life” is a concoction of Coke Zero and squid ink.
“We’re distilling our own moonshine in bronze-casted douche bags,” artist Marianne Vitale called over her shoulder as she strode out of the room, carrying one of the unwieldy items in question. About a dozen metal sculptures, their snaky tubes twisting up toward the heavens, were resting atop a century-old wooden bar in the back room of Ms. Vitale’s Long Island City studio. It was exactly two weeks before tonight’s premiere of The Missing Book of Spurs, her Performa biennial commission, and she was working on the set with her assistant. The sculptures didn’t belong there, Ms. Vitale decided, and so she moved the hefty things to a table in the adjacent workshop, a maze of saws and salvaged lumber. She dubbed the arrangement “a clusterfuck of douche bags.” Not quite an exaltation of larks, but it had a certain ring to it.
A few weeks ago, the artist Marianne Vitale was standing in the woods in upstate New York, firing a shotgun at a large wooden outhouse she had built in her studio in Queens. After she had finished building the sculpture, she felt that it was missing something. One night over a few glasses of whiskey Read More