‘I Have No Words’: Talking Emoji at Eyebeam

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As snow blanketed Chelsea last Friday afternoon, a crowd gathered at Eyebeam for a panel talk capping off a two-day exhibition there, “I Have No Words: Emoji and the New Visual Vernacular,” which has since been extended through Saturday, Dec. 21.

The audience sat in red folding chairs, in a room with exposed bricks that Read More


Author Helen DeWitt Will Give a Wonky Talk at Artists Space

Helen DeWitt.

The novelist Helen DeWitt, the author of two masterpieces of contemporary fiction, The Last Samurai (2000) and Lightning Rods (2011), will give a talk at Artists Space this Sunday, Sept. 8 at 7 p.m. The nonprofit said in a press release that “it was not easy” to get Ms. DeWitt–who is known in the publishing world for being a bit eccentric–to appear, but she did eventually agree. She said the title of the talk would be along the lines of: “The Phileas Fogg Club Sex, Suicide, Statistics & the New Situationism Sex, Suicide, Social Machines: Rational Whist & the New Situationism Deschapelles, Derrida, Debord: Debugging the System of Signs.“
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From Housewives to Homemakers: Penny Sparke on Domesticity and Design at SculptureCenter

'Kabuki Chefs' (2012) by Hamilton. (Photo by Jason Mandella/SculptureCenter)

SculptureCenter’s whip-smart current show, which runs through Monday, is titled “Better Homes,” alluding to the issues of design and domesticity that curator Ruba Katrib takes up through the work of 16 artists. However, you could have been forgiven for taking that title as a simple statement of fact on a hot evening there earlier this month, when the museum welcomed guests for a talk with an absolutely beautiful spread of food—hearty sandwiches, cupcakes—and craft beer, plus those cute little cans of Perrier. Really the best food offerings I have ever encountered at a lecture. Truly a better home. Read More


Honored for Diplomacy Through the Arts, Carlyle Chief David Rubenstein Talks Magna Cartas, Mating Pandas


Sculptor Joel Shapiro was one of the first to arrive at the New York Public Library’s Stephen A. Schwartzman Building on Wednesday night, and the large, stately room looked a little empty as he and a few other punctual guests mingled before the event—a conversation between billionaire philanthropist David Rubenstein and Pulitzer Prize-winning historian Jon Meacham. They weren’t alone for long. Dozens of fashionably late furs were soon cast off at the coat check and in poured a river of well-heeled guests, ready to celebrate Mr. Rubenstein’s receipt of the fifth annual Leonore and Walter Annenberg award for Diplomacy through the Arts from the Foundation for Art & Preservation in Embassies. Read More


The Revolutionary and the Reformist: Deborah Kass and Robert Storr at the New York Public Library

Deborah Kass, 'Blue Deb,' 2000. (Courtesy the artist and Paul Kasmin)

As she watched a handsome room on the second floor of the New York Public Library’s Stephen A. Schwarzman Building in Midtown steadily fill with people on Wednesday night, Deborah Kass looked pleased. “It’s all friends—it’s perfect,” she told a bespectacled gentleman setting up stacks of her first monograph, Deborah Kass: Before and Happily Ever After (2012), on a nearby table. Ms. Kass mingled amiably before the event—a conversation between her and curator Robert Storr held in conjunction with her recent mid-career retrospective at the Andy Warhol Museum in Pittsburgh, which closed last week. Ms. Kass wore black, down to her trademark velvet slippers bearing the words OY and YO in gold, just like her twin paintings of those words that play on Ed Ruscha’s iconic OOF (1962), which is in the collection of MoMA. Read More


Paul Schimmel on Curating: ‘I’m Not Subtle’


With a whopping 130 artists and more than 500 artworks, “Under the Big Black Sun,” the exhibition about California art from 1974 to 1981 that former Museum of Contemporary Art, Los Angeles chief curator Paul Schimmel organized last fall, seems likely to be remembered as his swan song at the museum. (He departed last week, though he is completing work on “Destroy the Picture: Painting the Void, 1949–1962,” which opens in September.)

Just a few days before splitting with MOCA, where he’d been a curator for 22 years, Mr. Schimmel was at Bard College, in Annandale-on-Hudson, N.Y., to participate in one of many panel discussions held during a weekend conference celebrating the 20th anniversary of the school’s Center for Curatorial Studies. The discussion in which Mr. Schimmel took part was titled “Case Studies,” and invited curator panelists to explain how they go about assembling shows. Listening to him talk about and show slides from “Under the Big Black Sun,” which opened last October as part of the Getty’s “Pacific Standard Time” initiative and ran through Feb. 13, provided a window into his curating process. Read More