Getting Into Bed With the Know More Games Gallery

The bed, with Ann Greene Kelly, 'Weight,' 2013, at top right.

Let’s be clear. There has not been enough art involving sleepovers, and what little has been made has been woefully inaccessible to the general public. Carsten Höller’s Revolving Hotel Room at the Guggenheim in 2008 went for $259 to $799 a night, and quickly booked up. A version at the Hamburger Banhhof in 2010 (situated above pens housing a reindeer herd) went for €1,000. Reservations for an overnight stay at Walter De Maria’s Lightning Field in rural New Mexico max out in peak season, when the lightning is really going, at a comparably affordable $250, but they are pretty much impossible to get and require a lengthy trip to the town of Quemado. Rooms in Al’s Grand Hotel, Allen Rupperberg’s delightful-sounding Sunset Boulevard hotel-as-artwork rented at $15 to $30 (back in 1971, granted), but it ran for only a month. Artists like Marina Abramovic and Chris Burden, of course, have slept at galleries free of charge, but those were one-off artworks, fixated on extreme endurance and deprivation. No thank you. And Chu Yun‘s piece at the 2009 New Museum triennial, which let volunteers pop sleeping pills and pass out on a bed in a gallery sounded fun, but it was ladies only, and you couldn’t stay the night. Read More


Drawn From Life: ‘Matisse and the Model,’ at Eykyn Maclean

"Self Portrait" (1944) by Matisse. (Courtesy


Henri Matisse was an artist for the Jazz Age, willing to practice for years in order to get a drawing right the first time, treating the obligation to entertain not as an obstacle to sophisticated experiment, but as its very foundation—or at least as an inviolable rule of the game. “Matisse and the Model,” curated by Ann Dumas for Eykyn Maclean, tracks the diligent charm, lordly insight and eternal flirtation of the artist’s gaze over half a dozen models and the course of his career, beginning, in a springily precise India ink drawing from 1944, with himself. Read More