HIGH LINE AT THE RAIL YARDS
MATCHING GIFT CHALLENGE
Make a gift by December 31, and your gift to support our rail yards efforts will be matched dollar-for-dollar, up to $70,000, to complete a generous challenge from The New York Community Trust—LuEsther T. Mertz Advised Fund.
With your help today, we can give the public a chance to experience this incredible place.
https://thehighline.org/
Thursday, December 30, 2010
Monday, December 6, 2010
Saturday, December 4, 2010
Friday, December 3, 2010
Tuesday, November 30, 2010
Saturday, November 27, 2010
Friday, November 19, 2010
Friday, November 12, 2010
Tuesday, November 9, 2010
Thursday, November 4, 2010
Monday, November 1, 2010
Friday, October 29, 2010
Auction Houses as Museums - Art on Display Presale - NYTimes.com
Dollar Sign” from 1981, one of the Warhols at Christie’s from the estate of Robert Shapazian
Wednesday, October 27, 2010
MILHONE TOSTA -Abstract Notebook Sketches
November 4-6, 2010
Opening Reception: Thursday, November 4th, 6-8 pm
PaulaBarr chelsea
west chelsea arts building
508/526 west 26th street · 9G
New York NY 10001
Opening Reception: Thursday, November 4th, 6-8 pm
PaulaBarr chelsea
west chelsea arts building
508/526 west 26th street · 9G
New York NY 10001
Tuesday, October 19, 2010
Tuesday, October 12, 2010
Life lies in Diversity-NYC -OCT.14TH-17TH
PAULA BARR Chelsea; CORDIALLY INVITES YOU
Opening reception:Thursday,Oct.14th,6-8pm
PBC-
West Chelsea Arts building
508/526 west 26th street- 9G
(Between 10th & 11 ave)
New York NY. 10001
Opening reception:Thursday,Oct.14th,6-8pm
PBC-
West Chelsea Arts building
508/526 west 26th street- 9G
(Between 10th & 11 ave)
New York NY. 10001
Saturday, October 9, 2010
Thursday, October 7, 2010
Blue Note New York Performance Schedule
Blue Note New York Performance Schedule
NYC BLUE NOTE-MONDAY,Oct.11th 2010.
8:OO pm show & 10:30 PM. Show
Blue note(NYC)
131 WEST 3rd st.NY.NY.10012
212-475-8592
NYC BLUE NOTE-MONDAY,Oct.11th 2010.
8:OO pm show & 10:30 PM. Show
Blue note(NYC)
131 WEST 3rd st.NY.NY.10012
212-475-8592
Wednesday, October 6, 2010
Tuesday, October 5, 2010
Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936
Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936
Traces this interwar classical aesthetic as it worked its way from a
poetic,mythic idea in the Parisian avant-garde;
Guggenheim Museum:1071 Fifth ave.
89th street.New York,NY 10128
Traces this interwar classical aesthetic as it worked its way from a
poetic,mythic idea in the Parisian avant-garde;
Guggenheim Museum:1071 Fifth ave.
89th street.New York,NY 10128
Friday, October 1, 2010
Thursday, September 30, 2010
Sunday, September 26, 2010
Lake Champlain Vermont Resorts - Basin Harbor Club and Resort - Welcome
A lovely,CHARMING PLACE to stay.Visited for two weeks.
A keen place to rest,golf,or swim. wonderful food & wine.
Lake Champlain Vermont Resorts - Basin Harbor Club and Resort - Welcome
A keen place to rest,golf,or swim. wonderful food & wine.
Lake Champlain Vermont Resorts - Basin Harbor Club and Resort - Welcome
Philippe Ségalot’s Sale at Phillipis, de Pury - NYTimes.com
"Mr.Segalot,does not do things the way others do",Before the ART stars
of Jeff Koons
Philippe Ségalot’s Sale at Phillipis, de Pury - NYTimes.com
of Jeff Koons
Philippe Ségalot’s Sale at Phillipis, de Pury - NYTimes.com
Saturday, September 25, 2010
Friday, September 24, 2010
Thursday, September 16, 2010
Tuesday, September 14, 2010
Rwchelsea's Blog- Art crtic Dr.Kupsit
Rwchelsea's Blog Marlene Tseng YU
Art critic: Dr.Kupsit-Lecture; 7:30 PM
Nature and Cosmos:
Opening reception
Sept.16th,2010 Queens college 6-9PM
Art critic: Dr.Kupsit-Lecture; 7:30 PM
Nature and Cosmos:
Opening reception
Sept.16th,2010 Queens college 6-9PM
Monday, September 13, 2010
Friday, September 10, 2010
The Gulf Coast Matters
The Gulf Coast Matters Dont Forget Me!
Our moral compass,Let your friends know!
Paula Barr returns The Gulf COAST
Our moral compass,Let your friends know!
Paula Barr returns The Gulf COAST
Wednesday, September 8, 2010
ÆQAI: Critical Thinking, Review & Reflective Prose on Contemporary Visual Art in Greater Cincinnati
Who's Who In American Art:Daniel Brown
Great honor,Delighted to share:As a art mentor,friend,collector,and worked within the
arts, for 14 years.
ÆQAI: Critical Thinking, Review & Reflective Prose on Contemporary Visual Art in Greater Cincinnati
Great honor,Delighted to share:As a art mentor,friend,collector,and worked within the
arts, for 14 years.
ÆQAI: Critical Thinking, Review & Reflective Prose on Contemporary Visual Art in Greater Cincinnati
Friday, September 3, 2010
Thursday, September 2, 2010
The Gulf Coast Matters: Paula Barr Returns to the Gulf Coast
The Gulf Coast Matters: Paula Barr Returns to the Gulf Coast: "Biloxi, Mississippi, 2008 Paula was reared in Mobile, Alabama, where her roots still run deep. She completed her art studies at B..."
Fashion Week Photographer Jennifer Graylock Visits the High Line - Video - Metropolis - WSJ
Walkabout NYC-Standard Hotel- Highline-Healing Place.
Fashion Week Photographer Jennifer Graylock Visits the High Line - Video - Metropolis - WSJ
Fashion Week Photographer Jennifer Graylock Visits the High Line - Video - Metropolis - WSJ
Wednesday, September 1, 2010
Tuesday, August 31, 2010
Goodbye Corinne - Vogue.it
Her infulence on the style and perception of photography
was very strong in the early 90's.
Goodbye Corinne - Vogue.it
was very strong in the early 90's.
Goodbye Corinne - Vogue.it
Sunday, August 29, 2010
Children of the Storm Revisited - Video Feature - NYTimes.com
Children of the Storm Revisited - Video Feature - NYTimes.com
Work in progress,Rebuilding America,Lets make a difference
Work in progress,Rebuilding America,Lets make a difference
Thursday, August 26, 2010
Brad Pitt’s Architects Give New Orleans Safer, Snazzier Homes - Bloomberg
Brad Pitt’s Architects Give New Orleans Safer, Snazzier Homes - Bloomberg
Now,almost 50 colorful houses with bat-wing roofs.
Now,almost 50 colorful houses with bat-wing roofs.
Tuesday, August 24, 2010
The Gulf Coast Matters: Paula Barr Returns to the Gulf Coast
The Gulf Coast Matters: Paula Barr Returns to the Gulf Coast: "Biloxi, Mississippi, Paula was reared in Mobile, Alabama, where her roots still run deep.
Everyone,Please Share with friends,Thank you!
Everyone,Please Share with friends,Thank you!
Monday, August 23, 2010
Shrugging Off Recession, Many Chelsea Galleries Keep Trading Up - Bloomberg
Shrugging Off Recession, Many Chelsea Galleries Keep Trading Up - Bloomberg
Art & Leisure Bloomberg-Improving capacity
Art & Leisure Bloomberg-Improving capacity
Sunday, August 22, 2010
Art Collecting and Investment | There's no retirement for an artist, it's your way of living so there's no end to it. Henry Moore
NYC Galleries Trading UP: -Chelsea-WJS Journal-August 17th,2010
Source:Bloomberg Art & Leisure:KATYA Kazakina
Art Collecting and Investment There's no retirement for an artist, it's your way of living so there's no end to it. Henry Moore
Source:Bloomberg Art & Leisure:KATYA Kazakina
Art Collecting and Investment There's no retirement for an artist, it's your way of living so there's no end to it. Henry Moore
Saturday, August 14, 2010
Sunday, August 8, 2010
Monday, August 2, 2010
Thursday, July 29, 2010
Wednesday, July 28, 2010
James Cohan Gallery
James Cohan Gallery
The Tell-Tale Heart -Part 2
Shanghai Gallery-Ghosts and men From
BADONG--YUN -FEI-JI:
The Tell-Tale Heart -Part 2
Shanghai Gallery-Ghosts and men From
BADONG--YUN -FEI-JI:
Tuesday, July 27, 2010
Thursday, July 22, 2010
Wednesday, July 21, 2010
Tuesday, July 20, 2010
An Award in Honor of the Great Jane Jacobs | The High Line
WE All have good news to share,The Rockfeller foundation annoucned:
An Award in Honor of the Great Jane Jacobs The High Line
An Award in Honor of the Great Jane Jacobs The High Line
Jumping in Art Museums-Oldenburg
Jumping in Art Museums
Allison,so excited by what I see,Have to jump for JOY.
Oldenburg:Dropped cone,Inverted Collar and Tie
Sculpture JUMPING.........Keep Going & jumping
Allison,so excited by what I see,Have to jump for JOY.
Oldenburg:Dropped cone,Inverted Collar and Tie
Sculpture JUMPING.........Keep Going & jumping
Monday, July 19, 2010
Visual Art Source:Dennis Hopper
Double Standard: Running July 11th thur Sept.26th 2010.
MOCA Director Jeffery Deitch
Visual Art Source
MOCA Director Jeffery Deitch
Visual Art Source
Saturday, July 17, 2010
Bureaucracy Meets Art, Delighting Christo - NYTimes.com
FOR ART SAKE, PURELY ABOUT ART,
Frees the Artists to work on other levels.
Bureaucracy Meets Art, Delighting Christo - NYTimes.com
Frees the Artists to work on other levels.
Bureaucracy Meets Art, Delighting Christo - NYTimes.com
Thursday, July 15, 2010
Hamptons Online - The Arts-Success keeps Growing
TO FUSE ART and business of Art into a cohesive,enjoyable,
and comfortable setting......
Hamptons Online - The Arts
and comfortable setting......
Hamptons Online - The Arts
Hamptons.com - Calendar - Found Object Art - New Work By Jorge Silveira
Surprised by the positive response,Inspired to KEEP GOING....Found object Art
Hamptons.com - Calendar - Found Object Art - New Work By Jorge Silveira
Hamptons.com - Calendar - Found Object Art - New Work By Jorge Silveira
PaulaBarr chelsea cordially invites you
"Paul Fernandez-Carol
Line Dreaming
July 15-17, 2010 Opening Reception: Thursday, July 15th, 6-8 pm
PaulaBarr chelsea
west chelsea arts building
508/526 west 26th street · 9G
(between 10th & 11th ave)
New York NY 10001"
Line Dreaming
July 15-17, 2010 Opening Reception: Thursday, July 15th, 6-8 pm
PaulaBarr chelsea
west chelsea arts building
508/526 west 26th street · 9G
(between 10th & 11th ave)
New York NY 10001"
PaulaBarr chelsea cordially invites you
"Paul Fernandez-Carol
Line Dreaming
July 15-17, 2010 Opening Reception: Thursday, July 15th, 6-8 pm
PaulaBarr chelsea
west chelsea arts building
508/526 west 26th street · 9G
(between 10th & 11th ave)
New York NY 10001"
Line Dreaming
July 15-17, 2010 Opening Reception: Thursday, July 15th, 6-8 pm
PaulaBarr chelsea
west chelsea arts building
508/526 west 26th street · 9G
(between 10th & 11th ave)
New York NY 10001"
Wednesday, July 14, 2010
Summer Fun for Kids/Adults on the Highline-NYC Simply the best!
Summer Fun for Kids on the High Line
All year, Friends of the High Line offers free kids programs that include engaging and innovative opportunities to learn about the High Line's unique design, history, and one-of-a-kind landscape. Now that summer vacation has arrived, it's the perfect time to plan a trip to the High Line. Nature scavenger hunts, arts and crafts workshops, and a pop-up playground for kids — there is something for visitors of all ages.
All programs are free and designed for kids ages 4 and up, unless otherwise noted. No RSVP is required.
JULY 28
Wild Wednesday #3
Bees, Butterflies, and Beetles: Bugs Rule the Line
Wednesday, July 28, 4:00 - 6:00 PM
14th Street Passage / Ages 4+
AUGUST 12
¡Arriba! Mambo & Salsa on the High Line
Thursday, August 12, 6:00 - 9:00 PM
Chelsea Market Passage / All ages
AUGUST 14
Nature Printing: A Family Printmaking Workshop
with Ann deVere
Saturday, August 14, 10:00 AM - Noon
14th Street Passage / Ages 4+
AUGUST 25
Wild Wednesday #4
Weed Wars: Uninvited Guests on the High Line
Wednesday, August 25, 4:00 - 6:00 PM
14th Street Passage / Ages 4+
WEEKLY STARGAZING
Stargazing with the Amateur Astronomers Association
Every Tuesday at Dusk
On the High Line under The Standard Hotel / Ages 4 plus
Questions? Contact Friends of the High Line at (212) 206-9922.
For the latest calendar listings and updates, visit www.thehighline.org.
All year, Friends of the High Line offers free kids programs that include engaging and innovative opportunities to learn about the High Line's unique design, history, and one-of-a-kind landscape. Now that summer vacation has arrived, it's the perfect time to plan a trip to the High Line. Nature scavenger hunts, arts and crafts workshops, and a pop-up playground for kids — there is something for visitors of all ages.
All programs are free and designed for kids ages 4 and up, unless otherwise noted. No RSVP is required.
JULY 28
Wild Wednesday #3
Bees, Butterflies, and Beetles: Bugs Rule the Line
Wednesday, July 28, 4:00 - 6:00 PM
14th Street Passage / Ages 4+
AUGUST 12
¡Arriba! Mambo & Salsa on the High Line
Thursday, August 12, 6:00 - 9:00 PM
Chelsea Market Passage / All ages
AUGUST 14
Nature Printing: A Family Printmaking Workshop
with Ann deVere
Saturday, August 14, 10:00 AM - Noon
14th Street Passage / Ages 4+
AUGUST 25
Wild Wednesday #4
Weed Wars: Uninvited Guests on the High Line
Wednesday, August 25, 4:00 - 6:00 PM
14th Street Passage / Ages 4+
WEEKLY STARGAZING
Stargazing with the Amateur Astronomers Association
Every Tuesday at Dusk
On the High Line under The Standard Hotel / Ages 4 plus
Questions? Contact Friends of the High Line at (212) 206-9922.
For the latest calendar listings and updates, visit www.thehighline.org.
artforum.com / museum previews
Is There after all any more priceless assets to Art & Business ?
A Unselfish service,fairplay and Absolute dependability.
artforum.com / museum previews
A Unselfish service,fairplay and Absolute dependability.
artforum.com / museum previews
Tuesday, July 13, 2010
Guggenheim Summer Programs:Haunted: Contemporary Photography/Video/Performance
Guggenheim Museum presents Summer programs in conjunction with
Haunted: Contemporary
Photography/Video/Performance
Sackler Center for Arts Education
Solomon R. Guggenheim Museum
1071 Fifth Avenue (at 89th Street)
New York City
guggenheim.org/education
Sackler Center for Arts Education
Solomon R. Guggenheim Museum
1071 Fifth Avenue (at 89th Street)
New York City
guggenheim.org/education
Monday, July 12, 2010
Streets of New York City « Creative Spark
Streets of New York City « Creative Spark
YOU KNOW IN ADVANCE,Requires no stamps,
ART FILLED Adventures:Special offers in The Making.
YOU KNOW IN ADVANCE,Requires no stamps,
ART FILLED Adventures:Special offers in The Making.
Sunday, July 11, 2010
Training for Leading Roles/Davos & Theater
ART FILLED ADVENTURES THIS SUMMER
Davos Fellows Get Theater Arts Training at Columbia – NYTimes.com
Davos Fellows Get Theater Arts Training at Columbia – NYTimes.com
Wednesday, July 7, 2010
Art & Education: Artists reality:Mark Rothko
The Artist’s Reality: Mark Rothko
Has art lost faith in itself? Can pictures be miraculous anymore? A revelation? Mark Rothko thought so. Rigidly uncompromising, deeply philosophic, and blessed with a gift for sustained concentration, Mark Rothko (1903-1970) was one of the major figures of Abstract Expressionism. And yet, he argued that his pictures were not abstract at all, but instead, had a most important subject: human experience. Rothko’s aim was to make painting itself into an experience of tragedy and ecstasy. “My art is not abstract” he said, “it lives and breathes.” Appropriately, Andrew Forge once said, “When I first saw Rothko’s work, I felt I had fallen into a dream.”
Rothko thought pictures needed to be miraculous, and he didn’t think he needed stories to connect us to human tragedy. He thought it could be done with a completely new visual language. Rothko did not represent space. He created it. His colors are his performers: glowing, burning and floating. They don’t just absorb light, but rather, emit light. They feel like they’re moving off the wall, that they are somehow animated, and coming to get us. They are fetal in the sense that they are becoming, growing, and expanding, like germ cells.
Obsessed with the relationship between his pictures and his audience, Rothko saw the viewing experience as a marriage of minds. The viewer completes his pictures. There are incredibly funny stories of Rothko sneaking around Janis Gallery turning down the gallery lights whenever Sidney Janis wasn’t looking, who of course, when returning, would turn the lights back up again, wondering why it was so dark. Rothko thought his pictures already had their own illumination.
Rothko felt that modern society no longer recognized the urgency for the transcendent experience. For the archaic artist, however, this transcendental urgency was not only understood, but given official status. Like a modern day shaman, he felt it his duty to reconnect us to our primordial roots. Standing in front of an actual Rothko in person, the work has a strange, unseen presence. They invite your gaze to go beyond the canvas. They are an invitation, for us, the viewer, to share in a vision, to have one for ourselves. Divining instruments.
For Rothko, the artist’s most important tool was his faith. Faith in his ability to produce miracles when needed. Faith in the power of a work of art to express his most important feelings. Many of the religious functions of our culture may have been deinstitutionalized and marginalized today, but they have not vanished. We still need our gods and monsters.
Near to his death, Rothko would donate his famous Seagram’s murals to the Tate Gallery in London, in part because he was such an admirer of J.M.W. Turner’s work down the hall, and liked the idea of having the right company. His work is the logical conclusion to a long history and tradition of artists seeking to push the visual image to its absolute limits, in the quest to represent vision.
Has the art of today actually lost faith in itself? Perhaps it has. More importantly though, perhaps it has also lost the strength to dream. Like Sisyphus, some artists seem to have gotten tired of rolling that boulder up the hill all over again. In this new “barbarian age” as Anton Ehrenzweig called it, cool cynicism and unbelief are now the vogue. Maybe Donald Kuspit is right, and “The End of Art” is not when art is no longer any good, but rather, when the artist doesn’t even bother to try anymore. Carl Andre epitomized this hip indifference when he proclaimed he was trying to “unexpress” himself. As critic Robert Hughes brilliantly quipped: if someone puts a Rodin sculpture in a parking lot by accident, it’s still a Rodin, it’s just in a parking lot. But if someone takes Andre’s work out of the museum and puts it into the parking lot, it’s just a pile of bricks. As Richard Appignanesi writes of the limitations and disappointments of postmodern art - when we’ve finally run out of everything to believe in, “the only cure for Postmodernism is the incurable illness of Romanticism.”
The Romantic artist is startled at how enormous and beautiful the universe is. He is compelled to make others see it as he sees it. And the poet is a man or woman who expands the usual limits of vision. Visionary artists like Tiffany, Turner, Blake, Kandinsky and Rothko remind us that we are not merely able to see the world – but also able to alter our perception of it. Man has a Will to See. His perceptions can be adjusted like the range on a telescope. We can remember our dreams, and dream without sleeping. As The Serpent in Shaw’s Back to Methusaleh tells Eve in The Garden of Eden:
You and Adam see things and say, Why? But I dream things that never were, and I say ‘Why not?’
Eve realizes that for all the originative creative workers like herself: artists, musicians and the like: “When they come, there is always some new wonder, or some new hope; something to live for. They never want to die because they are always learning, and always creating.” Before Eve bites into The Apple, The Serpent reminds her:
“Every dream can be willed into creation by those strong enough to believe in it.” •
Has art lost faith in itself? Can pictures be miraculous anymore? A revelation? Mark Rothko thought so. Rigidly uncompromising, deeply philosophic, and blessed with a gift for sustained concentration, Mark Rothko (1903-1970) was one of the major figures of Abstract Expressionism. And yet, he argued that his pictures were not abstract at all, but instead, had a most important subject: human experience. Rothko’s aim was to make painting itself into an experience of tragedy and ecstasy. “My art is not abstract” he said, “it lives and breathes.” Appropriately, Andrew Forge once said, “When I first saw Rothko’s work, I felt I had fallen into a dream.”
Rothko thought pictures needed to be miraculous, and he didn’t think he needed stories to connect us to human tragedy. He thought it could be done with a completely new visual language. Rothko did not represent space. He created it. His colors are his performers: glowing, burning and floating. They don’t just absorb light, but rather, emit light. They feel like they’re moving off the wall, that they are somehow animated, and coming to get us. They are fetal in the sense that they are becoming, growing, and expanding, like germ cells.
Obsessed with the relationship between his pictures and his audience, Rothko saw the viewing experience as a marriage of minds. The viewer completes his pictures. There are incredibly funny stories of Rothko sneaking around Janis Gallery turning down the gallery lights whenever Sidney Janis wasn’t looking, who of course, when returning, would turn the lights back up again, wondering why it was so dark. Rothko thought his pictures already had their own illumination.
Rothko felt that modern society no longer recognized the urgency for the transcendent experience. For the archaic artist, however, this transcendental urgency was not only understood, but given official status. Like a modern day shaman, he felt it his duty to reconnect us to our primordial roots. Standing in front of an actual Rothko in person, the work has a strange, unseen presence. They invite your gaze to go beyond the canvas. They are an invitation, for us, the viewer, to share in a vision, to have one for ourselves. Divining instruments.
For Rothko, the artist’s most important tool was his faith. Faith in his ability to produce miracles when needed. Faith in the power of a work of art to express his most important feelings. Many of the religious functions of our culture may have been deinstitutionalized and marginalized today, but they have not vanished. We still need our gods and monsters.
Near to his death, Rothko would donate his famous Seagram’s murals to the Tate Gallery in London, in part because he was such an admirer of J.M.W. Turner’s work down the hall, and liked the idea of having the right company. His work is the logical conclusion to a long history and tradition of artists seeking to push the visual image to its absolute limits, in the quest to represent vision.
Has the art of today actually lost faith in itself? Perhaps it has. More importantly though, perhaps it has also lost the strength to dream. Like Sisyphus, some artists seem to have gotten tired of rolling that boulder up the hill all over again. In this new “barbarian age” as Anton Ehrenzweig called it, cool cynicism and unbelief are now the vogue. Maybe Donald Kuspit is right, and “The End of Art” is not when art is no longer any good, but rather, when the artist doesn’t even bother to try anymore. Carl Andre epitomized this hip indifference when he proclaimed he was trying to “unexpress” himself. As critic Robert Hughes brilliantly quipped: if someone puts a Rodin sculpture in a parking lot by accident, it’s still a Rodin, it’s just in a parking lot. But if someone takes Andre’s work out of the museum and puts it into the parking lot, it’s just a pile of bricks. As Richard Appignanesi writes of the limitations and disappointments of postmodern art - when we’ve finally run out of everything to believe in, “the only cure for Postmodernism is the incurable illness of Romanticism.”
The Romantic artist is startled at how enormous and beautiful the universe is. He is compelled to make others see it as he sees it. And the poet is a man or woman who expands the usual limits of vision. Visionary artists like Tiffany, Turner, Blake, Kandinsky and Rothko remind us that we are not merely able to see the world – but also able to alter our perception of it. Man has a Will to See. His perceptions can be adjusted like the range on a telescope. We can remember our dreams, and dream without sleeping. As The Serpent in Shaw’s Back to Methusaleh tells Eve in The Garden of Eden:
You and Adam see things and say, Why? But I dream things that never were, and I say ‘Why not?’
Eve realizes that for all the originative creative workers like herself: artists, musicians and the like: “When they come, there is always some new wonder, or some new hope; something to live for. They never want to die because they are always learning, and always creating.” Before Eve bites into The Apple, The Serpent reminds her:
“Every dream can be willed into creation by those strong enough to believe in it.” •
Saturday, June 26, 2010
Mark Rapp Song Project/Gulf coast Echo Project
Each fact is a strong link..Song Project & Gulf coast echo Project:
Paula Barr shooting the Gulf oil spill please DONATE via site images http://siteimages.org/ Thank you for your Kindness & Support!
Behind the scenes: Song Project mixing II
The second mixing session for the upcoming record release by The Song Project. It's due to be released in September on Paved Earth Music. This duo developed as an online recording project - Derek Lee Bronston (Tom Harrell, Cecil Taylor) recorded in Brookl...yn and me in Europe. The current results of those efforts can be found here: http://thesongproject.pavedearthmusic.com/ When Derek was visiting in Switzerland recently, we went into the studio and recorded the official CD. It has new originals (one of them I wrote just for this recording) and even a cover of AC/DC's "All Night Long", a Radiohead tune called "Packt Like Sardines In A Crushed Tin" and "Mad World" by Tears for Fears. The project has really grown into an engaging musical performance where each song is explored freely and melodically.See More
Length: 1:32
Paula Barr shooting the Gulf oil spill please DONATE via site images http://siteimages.org/ Thank you for your Kindness & Support!
Behind the scenes: Song Project mixing II
The second mixing session for the upcoming record release by The Song Project. It's due to be released in September on Paved Earth Music. This duo developed as an online recording project - Derek Lee Bronston (Tom Harrell, Cecil Taylor) recorded in Brookl...yn and me in Europe. The current results of those efforts can be found here: http://thesongproject.pavedearthmusic.com/ When Derek was visiting in Switzerland recently, we went into the studio and recorded the official CD. It has new originals (one of them I wrote just for this recording) and even a cover of AC/DC's "All Night Long", a Radiohead tune called "Packt Like Sardines In A Crushed Tin" and "Mad World" by Tears for Fears. The project has really grown into an engaging musical performance where each song is explored freely and melodically.See More
Length: 1:32
Monday, June 21, 2010
Thursday, June 17, 2010
Nanomodernity’s Epicurean Challenge – In Conversation with Jason Silva | MuseumViews
Nanomodernity’s Epicurean Challenge – In Conversation with Jason Silva MuseumViews:
"In many ways, Nanomodernity is a seemingly and dramatically different concept from Postmodernism with its illusions of mass accessibility. During the past thirty or so years, Post-Modernity’s (synthetic) populist pronouncements lead many to believe that no area of our lives is immune to its invasion and that its practices could be adopted by anyone. Of course, this was not truly the case, since, in the realms of arts and sciences, alliances are made with meticulous discrimination"
"In many ways, Nanomodernity is a seemingly and dramatically different concept from Postmodernism with its illusions of mass accessibility. During the past thirty or so years, Post-Modernity’s (synthetic) populist pronouncements lead many to believe that no area of our lives is immune to its invasion and that its practices could be adopted by anyone. Of course, this was not truly the case, since, in the realms of arts and sciences, alliances are made with meticulous discrimination"
Wednesday, June 2, 2010
The Heroic Louise Bourgeois by Jerry Saltz
The Heroic Louise Bourgeois
6/1/10 at 3:30 PM Comment 4Comment 4Comments
Photo: Janusz Kawa/CameraPress/Retna Ltd.
Robert Mapplethorpe’s iconic 1982 portrait of Louise Bourgeois, who died yesterday at 98, speaks volumes about Bourgeois’s free-spiritedness, grace, tenacity, and the kinky perversity of her work. In it, the 71-year-old sculptress looks like a shaman seductress, one of Munch’s vampiric castration queens, a maker of voodoo dolls, and a diva grandmother rolled into one. Under her arm she casually cradles her 23-inch long, seven-inch circumference latex-over-plaster sculpture of a phallus, Fillette (1968). In French the term means “helpless little girl.” While Bourgeois was no little girl, there’s something radically vulnerable about how she’s holding the work — she almost seems to pull back the sculpture’s foreskin and give the thing a little tickle. Bourgeois said this gnarly abstract penis, with ovular testicles and a hook at the top, was “the shape of my husband, the shape of the children” (she had three sons). “I wanted to represent something I loved,” she said. “I obviously loved representing a little penis.” Little? Anyway, as Bourgeois later said, “It’s very complicated.” Indeed it was. As she said, “I have nothing against the penis. It’s the wearer.”
For over seven decades, but in especially mordant, tough, and compelling ways over the last 30 years of her career, Bourgeois — perhaps the last twisted sphinx of surrealistic psychology, and the final vehicle of Abstract Expressionistic seriousness — turned the stuff of childhood trauma, oedipal desire, raging fury, and human sexuality into moving sculptures.
She often recalled her adulterous, psychologically abusive father. (He had an affair with her English governess, which her mother was unable to even acknowledge.) She told of how he regaled dinner guests with stories of how unattractive she was, and ridiculed her large breasts. It’s perhaps not surprising, then, to find abstract images of birth, death, fear, and sex in Bourgeois’s work: vivisectioned vaginas made of marble, drawings of women with houses for heads, latex dresses made of breasts. One of her installations includes an embroidered handkerchief with the words, “I have been to hell and back and let me tell you it was wonderful.” Another work, The Destruction of the Father, features mounds and what looks like the jaw of a dinosaur. In the Guggenheim’s catalog for her retrospective there, Bourgeois is quoted describing an imaginary situation in which she, with her family, threw her father “onto the table and pulled his arms and legs apart — dismembered him … ate him up … It is a fantasy but sometimes the fantasy is lived.” For the “lived” part of those fantasies, immerse yourself in her miniature stuffed figurines, many of them housed in glass vitrines, which seem to kill, attack, or make love to one another. She reveled in infernal scenes of headless bodies, big spiders that dominated city plazas like avenging angels, and otherworldly mothers.
After not paying much attention to her work, even dismissing it as latter-day surrealism, I finally became a Bourgeois fan in the eighties. Her images, materiality, scale, and surfaces seemed to get braver and more commanding. The theatricality, surrealism, and Abstract Expressionist angst seemed to become more mysterious, bizarre, and disarming. Although I never liked the spiders, and her pink wooden figures still strike me as derivative, her narratives came totally alive with an almost Kafkaesque darkness and urgency. Her works became horror comedies of sex, memory, and living within the confines of a body. She was metamorphosing figures in ways that made them feel at the service of forces greater than those of humanity; they became puppets of the gods, expressing a sort of cosmic will. Bourgeois’s feminism had mutated into a simultaneously heroic and personal state. Where many artists who incorporate their biographies become slaves to them, and flog them in cloying ways, Bourgeois was always removed and skeptical, as filled with anger as she was with wit and incredulity.
By: Jerry Saltz
Filed Under: art, louise bourgeois, obit
6/1/10 at 3:30 PM Comment 4Comment 4Comments
Photo: Janusz Kawa/CameraPress/Retna Ltd.
Robert Mapplethorpe’s iconic 1982 portrait of Louise Bourgeois, who died yesterday at 98, speaks volumes about Bourgeois’s free-spiritedness, grace, tenacity, and the kinky perversity of her work. In it, the 71-year-old sculptress looks like a shaman seductress, one of Munch’s vampiric castration queens, a maker of voodoo dolls, and a diva grandmother rolled into one. Under her arm she casually cradles her 23-inch long, seven-inch circumference latex-over-plaster sculpture of a phallus, Fillette (1968). In French the term means “helpless little girl.” While Bourgeois was no little girl, there’s something radically vulnerable about how she’s holding the work — she almost seems to pull back the sculpture’s foreskin and give the thing a little tickle. Bourgeois said this gnarly abstract penis, with ovular testicles and a hook at the top, was “the shape of my husband, the shape of the children” (she had three sons). “I wanted to represent something I loved,” she said. “I obviously loved representing a little penis.” Little? Anyway, as Bourgeois later said, “It’s very complicated.” Indeed it was. As she said, “I have nothing against the penis. It’s the wearer.”
For over seven decades, but in especially mordant, tough, and compelling ways over the last 30 years of her career, Bourgeois — perhaps the last twisted sphinx of surrealistic psychology, and the final vehicle of Abstract Expressionistic seriousness — turned the stuff of childhood trauma, oedipal desire, raging fury, and human sexuality into moving sculptures.
She often recalled her adulterous, psychologically abusive father. (He had an affair with her English governess, which her mother was unable to even acknowledge.) She told of how he regaled dinner guests with stories of how unattractive she was, and ridiculed her large breasts. It’s perhaps not surprising, then, to find abstract images of birth, death, fear, and sex in Bourgeois’s work: vivisectioned vaginas made of marble, drawings of women with houses for heads, latex dresses made of breasts. One of her installations includes an embroidered handkerchief with the words, “I have been to hell and back and let me tell you it was wonderful.” Another work, The Destruction of the Father, features mounds and what looks like the jaw of a dinosaur. In the Guggenheim’s catalog for her retrospective there, Bourgeois is quoted describing an imaginary situation in which she, with her family, threw her father “onto the table and pulled his arms and legs apart — dismembered him … ate him up … It is a fantasy but sometimes the fantasy is lived.” For the “lived” part of those fantasies, immerse yourself in her miniature stuffed figurines, many of them housed in glass vitrines, which seem to kill, attack, or make love to one another. She reveled in infernal scenes of headless bodies, big spiders that dominated city plazas like avenging angels, and otherworldly mothers.
After not paying much attention to her work, even dismissing it as latter-day surrealism, I finally became a Bourgeois fan in the eighties. Her images, materiality, scale, and surfaces seemed to get braver and more commanding. The theatricality, surrealism, and Abstract Expressionist angst seemed to become more mysterious, bizarre, and disarming. Although I never liked the spiders, and her pink wooden figures still strike me as derivative, her narratives came totally alive with an almost Kafkaesque darkness and urgency. Her works became horror comedies of sex, memory, and living within the confines of a body. She was metamorphosing figures in ways that made them feel at the service of forces greater than those of humanity; they became puppets of the gods, expressing a sort of cosmic will. Bourgeois’s feminism had mutated into a simultaneously heroic and personal state. Where many artists who incorporate their biographies become slaves to them, and flog them in cloying ways, Bourgeois was always removed and skeptical, as filled with anger as she was with wit and incredulity.
By: Jerry Saltz
Filed Under: art, louise bourgeois, obit
Louise Bourgeois
“But from first to last they shared a set of repeated themes, centered on the human body and its need for nurture and protection in a frightening world.” One might say friendly trappings.
Friday, April 9, 2010
Saturday, March 27, 2010
The New Guard of Curators Steps up
Museums Special Section
The New Guard of Curators Steps Up
By CAROL VOGEL
Published: March 18, 2010
Far from the stereotype of fusty academics, curators in their 30s and 40s are bringing eclectic backgrounds and a fresh eye to Manhattan’s museums
The New Guard of Curators Steps Up
By CAROL VOGEL
Published: March 18, 2010
Far from the stereotype of fusty academics, curators in their 30s and 40s are bringing eclectic backgrounds and a fresh eye to Manhattan’s museums
Friday, March 19, 2010
Friday, February 26, 2010
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