The Year of Rain and Cronuts
Look! It’s the most New York summer 2013 photo ever. (image by Hrag Vartanian for Hyperallergic)
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#best and worst of 2013 #blockbusters #Christian Marclay #cronut #David Zwirner #Museum of Modern Art #Rain Room #The Clock #Yayoi KusamaMore you might like
Yesterday, in observance of April Fools’ Day, we made light of the influence that commercial galleries have over museums. Today, the Art Newspaper published the results of research that found that artists from five of the world’s biggest galleries accounted for nearly a third of solo museum shows in the US between 2007 and 2013.
Brazilian art, Lygia Clark, Museum of Modern Art (via The Radical Brazilian Artist Who Abandoned Art)
As the visitor to the Museum of Modern Art walks across a swarming fifth floor this summer, she will find Lygia Clark: The Abandonment of Art, 1948–1988, the first comprehensive retrospective of the Brazilian artist’s career in America. The show is organized chronologically, starting with Clark’s early works from the 1950s and moving through her more radical experiments with participation and the sensorial awareness of spectators.
Very soon after my review of Louis Draper was published in Hyperallergic Weekend (February 7, 2016), I got an email from the Virginia Museum of Fine Arts and from the Museum of Modern Art. Pryor Green, who sent the email from Virginia, included her office phone and official email, should I wish to speak to her.
Follow-Up to My Review: Does the Museum of Modern Art Even Know About This Great Photographer?
Things You Could Do Instead of Waiting in Line for the Rain Room
This photo that chef Dominique Ansel tweeted of a cronut inside the Rain Room captures the insanity…
The Yayoi Kusama Experience at David Zwirner in Emoji
Yayoi Kusama’s I Who Have Arrived In Heaven continues at David Zwirner Gallery (525 West 19th…
Soon over 200 exhibition websites for the Museum of Modern Art (MoMA), going back to its first web experiments in 1995, will be totally archived, from their images to their code. The project, started in 2014, is a collaboration with the New York Art Resources Consortium (NYARC), which includes the Brooklyn Museum and Frick Collection and is concentrated on preserving the digital art history of museums.
MoMA Is Archiving Its Exhibition Websites Before They Expire
(via The Radical Brazilian Artist Who Abandoned Art)
As the visitor to the Museum of Modern Art walks across a swarming fifth floor this summer, she will find Lygia Clark: The Abandonment of Art, 1948–1988, the first comprehensive retrospective of the Brazilian artist’s career in America. The show is organized chronologically, starting with Clark’s early works from the 1950s and moving through her more radical experiments with participation and the sensorial awareness of spectators.
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As talk of art fairs and Björk took the spotlight at the beginning of the month, I lingered on the Museum of Modern Art’s The Forever Now: Contemporary Painting in an Atemporal World, up through early April. In mulling over its status as either a landmark statement on contemporary painting that demonstrates the museum’s cultural leadership, a taste-making stunt for collectors, or just another group show, I turn to six thoughtful reviews out of the many written about the exhibition. Four are by painters: Sharon Butler, Brian Dupont,Thomas Micchelli, and David Salle; two are by critics: Jason Farago and Christian Viveros-Fauné. There are several possible entry points into the debate: the show’s premise — “atemporality … in which, courtesy of the internet, all eras seem to exist at once,” as eagerly laid out by curator Laura Hoptman in the hardcover-only catalogue; the works themselves; or the show’s timing and venue.
