artists
Sarah Sze Discusses Her Work, Rose Butter
Perhaps you read Andrea K. Scott’s profile of sculptor Sarah Sze last week in The New Yorker and want to know a little bit more about the artist, who is representing the United State at the 2013 Venice Biennale. The magazine has just the thing for you, linking in a recent post to a short video lecture by Ms. Sze shot at the Mudam museum in Luxembourg. Read More
Major Tom: An Artist’s Quest for Interplanetary Travel
Tom Sachs’s “Space Program” lifts off at the Park Avenue Armory on Tuesday. Technically, it is an art exhibition. But know this: Tom Sachs is going to Mars.
The Observer was introduced to the project on a visit to the artist’s Chinatown studio last November; our entry required that we be photographed at the door and issued with a facsimile NASA pass. Members of Mr. Sachs’s core team of 17 who were on hand included Mary Eannarino, a 23-year-old from South Carolina who most recently worked at an art gallery in Moscow, and who is to be one of Armory show’s two astronauts. “Mary’s in on this meeting because she represents the face of our space program,” Mr. Sachs said. Read More
Will Cotton Thinks Everyone Is Ripping Him Off
Confectionery pin-up painter Will Cotton has a new show at Mary Boone and, to mark the occasion, a new interview over at Capital New York. Read More
Brooklyn Museum Plans LaToya Ruby Frazier Show
LaToya Ruby Frazier’s elegant, personal and sometimes emotionally charged black-and-white photographs have been seen in this year’s Whitney Biennial, the 2010 edition of MoMA PS1′s Greater New York and the New Museum’s first triennial, in 2009. Now they are headed to the Brooklyn Museum, which will mount a major exhibition of her work, titled “A Haunted Capital,” this June. Read More
The Original: Doing the Elastic Tango With Sturtevant
LAST WEDNESDAY AFTERNOON, a slight woman with grey hair styled in a short, spiky, pixie-ish cut was sitting on a sofa at the West Village gallery Gavin Brown’s Enterprise, overseeing the installation of a three-part video piece she made that features short clips from television and the Internet, including flags waving, preachers preaching, Betty Boop singing, a frog jumping and a couple ballroom dancing. She is 82 years old and commanding. Her name is Elaine Sturtevant, but she prefers to be called Sturtevant. That’s what it says on the announcement card for her exhibition, which features a close-up of the face of an inflatable sex doll. Sturtevant. Read More
Sarah Sze Profiled in ‘New Yorker’
This week’s issue of The New Yorker features a profile of the artist Sarah Sze, by Andrea K. Scott. Ms. Sze, you may remember, was recently selected to represent the United States in the 2013 Venice Biennale, so you may want to read up on her dense work to better grasp its place in art Read More
Christian Marclay Is on the Time 100
The art world receives a few shout outs in the Time 100 list of the world’s most influential people, among them Alice Walton and Christian Marclay, who appears near the top with an entry by everybody’s favorite genre-hopper Geoff Dyer. Read More
‘Vice’ Interviews Kenneth Anger, Asks All the Wrong Questions
We were excited to read the interview on the Vice website with reclusive experimental filmmaker Kenneth Anger, who is now 85, mostly because the filmmaker—beloved for his visually stunning, surreal, homoerotic creations—is known for his interest in the occult, an interest which is manifested in films like his 1954 masterpiece Inauguration of the Pleasure Dome, which explores Thelema, Aleister Crowley’s occult philosophy.
Hoping to get some insight into his occult practice, we get instead, a desultory exploration of celebrity in Los Angeles, a subject on which the filmmaker made himself a de facto expert when he penned the gossipy book Hollywood Babylon. It isn’t until the interview is nearly halfway over that the interview stumbles into occult territory when Mr. Anger is asked about the nature of his friendship with sexologist Alfred Kinsey: Read More
Adam Pendleton Brings Black Dada to MoMA and Pace
Two weeks ago, the artist Adam Pendleton was in his studio in Germantown, a small town in upstate New York, talking about Black Dada, a kind of conceptual manifesto that informs much of his work.
“It defies logic,” he said and let out a loud laugh. “It’s so illogical it’s almost humorous.” Read More
