• 04197c2d-35f6-4ba4-baad-d60f5d3e5d26dd69e1a1-75e7-420d-898a-6b9d28758ce1

    Unbound, (c) 2015, Terracotta, 16h x 12 x 2 inches

    Unbound, (c) 2015, Terracotta, 16h x 12 x 2 inches

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    An Incomplete History of Protest is a new exhibition of works from the Whitney’s collection, examining how artists from the 1940s to the present have confronted the political and social issues of their day. The featured artists see their work as essential to challenging established thought and creating a more equitable culture.

    The exhibition brings together some of the Whitney’s most powerful works by Mark Bradford, Paul Chan, Larry Clark, General Idea, Felix Gonzalez-Torres, Guerilla Girls, On Kawara, Edward Kienholz, Glenn Ligon, Julie Mehrutu, Toyo Miyatake, Senga Nengudi, Gordon Parks, Ad Reinhardt, Martha Rosler, and others.

    Many of the artists have sought changes, such as ending the war in Vietnam or combating the AIDS crisis. Others have engaged with protest more indirectly, with the long term in mind, hoping to create new ways of imagining society and citizenship.

    The exhibition offers a series of historical case studies focused on particular moments and themes—from questions of representation to the fight for civil rights—that remain relevant today. At the root of the exhibition is the belief that artists play a profound role in transforming their time and shaping the future.

    For more information, visit the Whitney’s website.

     Black and white photograph of protesters with black rectangles covering their signs.

    Annette Lemieux (b. 1957), Black Mass, 1991. Latex, acrylic, and oil on canvas, 95 13/16 × 105 × 1 13/16 in. (243.4 × 266.7 × 4.6 cm). Whitney Museum of American Art, New York; promised gift of Emily Fisher Landau P.2010.173. © Annette Lemieux

    The Guggenheim Museum’s exhibition, Art and China after 1989, presents work by 71 key artists and groups who have been active in China and around the globe.

    Starting in 1989 and spanning through the Beijing Olympics of 2008, the exhibition covers the culture of artistic experimentation during a time characterized by the onset of globalization and the rise of a newly powerful China on the world stage. The exhibition’s subtitle, Theater of the World, comes from an installation by the Xiamen-born, Paris-based artist Huang Yong Ping: a cage-like structure with live reptiles and insects caught in the cycle of life, an apt spectacle of globalization’s symbiosis and raw contest.

    Art and China after 1989 is organized into six chronological, thematic sections throughout the rotunda and two other floors of the museum. Despite the diversity of the exhibition, the artists have tried to go beyond China’s political disagreements and simple East-West dogmas. Their creativity expands ever-widening view of contemporary art and inspire new thinking at a moment when the questions they have faced—of identity, equality, ideology, and control—have pressing relevance.

    Read more on the Guggenheim’s website.

    Photo: David Heald

    The Ethan Cohen Gallery is presenting Mina Cheon’s solo exhibition UMMA : MASS GAMES –
    Motherly Love North Korea, curated by Nadim Samman, and sending art to North Korea.

    The exhibition takes place during a time when there has been a war of words between North Korean and U.S. leaders. With this exhibition, Cheon establishes the personality cult of UMMA (‘mommy’ in Korean), whose maternal love is deployed as the only acceptable solution for global peace and Korean unification. Whereas South Korea’s modernity was pushed forward by
    a chima baram (skirt wind), UMMA’s matriarchal strength is offered as a catalyst for developing
    North Korea. In this exhibition, Cheon (in the guise of her alter ego Kilm Il Soon, the ‘Umma of
    Unification’) sends motherly love and education to her children in the Hermit Kingdom and the USA.
    In addition, she debuts artworks resulting from a series of dissident dreams.
    1umma
    For UMMA : MASS GAMES, Cheon has worked with underground networks to send hundreds of
    USB drives containing performance lectures on contemporary art history into North Korea –
    arguably the first such artistic ‘re-programming’ engagement with the nation to date. All ten lessons
    will be on display at Ethan Cohen Gallery on Notel media players (devices commonly used in North
    Korea for watching foreign video content, such as K-pop, drama, and Korean Wave Cinema). The
    Art History Lessons by Professor Kim (2017) endeavor to be relatable for North Korean and
    American audiences – borrowing from children’s TV show formats while showcasing today’s
    contemporary artists and critical perspectives. Carrying the vital messages “The world loves you,
    North Korea” and “Both art and lives matter,” lesson topics include Art & Life; Art & Food; Art,
    Money & Power; Abstract Art & Dreams; Feminism, Are We Equal?; Art, Lives Matter & Social
    Justice; Remix & Appropriation Art; Art & Technology; Art & Silence; and Art & Environment.
    The Mass Games (Arirang) are the paramount North Korean spectacle, deployed for nationalistic
    propaganda purposes and presented to the world. But are they any fun? In this exhibition, Umma

    supervises her own games, convened by love for her children: The show includes group-
    performance imagery in the form of Happy North Korean Children (2014) prints. Furthermore, an

    installation entitled Happy Land Games (2017), incorporating oversized wooden versions of the
    toys normally given away inside packets of South Korean Choco·Pie candy – depicting fairground
    rides from a mythical park called Happy Land. The Choco·Pie is the most desired smuggled
    confectionary in North Korea, a single pie trading (on the black market) for the equivalent of three
    bowls of rice. Visitors to Ethan Cohen Gallery are invited to assemble and play with Umma’s Happy
    Land. The themes of games, happiness, and imaginary society in these works are in dialogue with
    North Korea’s international self-presentation – invoking the DPRK’s 2011 Global Index of
    Happiness Research claim that it is ‘the second happiest nation in the world next to Big China.’

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    This exhibition also showcases an insight into Socialist Realist painter Kim Il Soon’s cosmopolitan
    subconscious. It is only in her dreams that she truly contemplates liberation. These dreams have
    resulted in two painting series (entitled, respectively, Hot Pink Drip and Yves Klein Blue Dip),
    which incorporate digital manipulation and abstract painterly gestures in conjunction with realist
    propaganda styles. Titles and topics include: Umma, Unicorn, and Unification, as well as a series
    of Professor Kim and Umma in her full virtuoso presentation rising above the clouds and fogs of the
    Baekdusan Mountain, in Umma Rises: Towards Global Peace. Other works include portraits of
    Umma in North Korea, Missiles Good Bye and Hello Brave New World.
    In UMMA : MASS GAMES, the contradictions, fractures and paradoxes of the Korean imaginary
    are on full display. With the Kim Il Soon artist-complex (a locus of various attributes:
    scholar/educator, state-artist, dissident dreamer and mother/umma), Cheon explores overlapping
    political and personal dramas of identification and acceptance. Simultaneously, she exorcizes
    Fatherly sins through the cult of the great UMMA, her motherly love, and her serious play. No image
    of this love is too grand. Nothing too small: Leading up to the opening of her exhibition during NYC
    Asia Contemporary Art Week, Umma (dressed in traditional Korean garb and on her knees) will
    perform the cleaning of gallery floors and offering kimchi. On Friday, October 13th (5PM), she will
    be cleaning the floors of Ethan Cohen Gallery as a prequel performance to the UMMA exhibit.
    The exhibition catalog will include a curatorial essay by Nadim Samman, who contributed
    ideological engineering and ‘right-thinking,’ staging the provocation of the exhibition from the
    heavens to the undergrounds of North Korea, where Umma rises and descends. Other writers
    include fellow-traveler philosopher Laurence A. Rickels who has taken down the Official
    Psychoanalytic History of Umma and Korea, by interpreting Kim Il Soon’s dreams, unlocking her
    “andere Schauplatz” where she unleashes a desire for Unification.
    “From Kim Il Soon to Professor Kim (whose scholastic pursuits are wide and unbound), our UMMA
    demonstrates militant efficiency; outstanding and seasoned ability of leadership; a thoroughgoing and
    indomitable spirit; the power of keen observation; clear analysis and extraordinary perspicacity with
    regard to all things and phenomena. UMMA’s love for the people is allied with a serious faculty for
    creative thinking, regarding every problem with an innovative eye. She shows courage and ambition
    while advancing vigorously along the road. She holds fast to the banner with a firm grasp;
    with strength, daring, energy and originality. Of course, it is my distinct honor to join with her program
    – and to offer my dedicated enthusiasm for proper implementation.” (Curator Nadim Samman)
    Mina Cheon (PhD, MFA) is a Korean-American global new media artist, scholar, and educator who
    divides her time between Korea and the United States. Cheon has exhibited her political pop art
    known as “Polipop” internationally and draws inspiration from global media and popular culture to
    produce work that intersects politics and pop art in subversive and provocative ways. In particular,
    Cheon has worked on North Korean awareness and global peace projects since 2004 and
    appeared to the world as a North Korean artist KIM IL SOON since 2013. While she creates work
    that range in medium from new media, video, installation, performance, and public projects to
    traditional media of painting and sculptures, the content of the work is in historic alignment to
    appropriation art and global activism art. She has exhibited her work and/or in the collection of the
    Sungkok Art Museum, Seoul Olympic Museum, American University Museum, Smith College
    Museum of Art, Baltimore Museum of Art, Maryland Art Place, Insa Art Space Korean Arts Council,
    C.Grimaldis Gallery, Lance Fung Gallery, Trunk Gallery, and represented by Ethan Cohen Gallery.
    She is also currently a Full-time Professor at the Maryland Institute College of Art (MICA).
    http://www.minacheon.com

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    Nadim Samman is a curator and art historian whose PhD research focused on underground Soviet
    conceptualism. In 2017, he was Co-Curator of the 1st Antarctic Biennale (the first artistic festival in
    the world’s southernmost continent). In 2016, he was Curator of the 5th Moscow International
    Biennale for Young Art. In 2015, he curated the Cycle Art & Music Festival in Reykjavik, Iceland, and
    in 2012, he Co-curated 4th Marrakech Biennale. Samman is currently engaged as a Curator of the
    Aurora public art festival in Dallas (2018). He has published in newspapers, magazines, and journals
    worldwide, and in 2016 was named among the ‘20 Most Influential Young Curators in Europe’ by
    Artsy. http://nadimsamman.com
    The Ethan Cohen Gallery was founded in 1987 as Art Waves/Ethan Cohen in SoHo, New York
    City. A groundbreaker in the field of contemporary Chinese art, it was the first gallery to present the
    Chinese Avant Garde of the 80s to the United States. It introduced the works of now celebrated
    artists, such as Ai Weiwei, Xu Bing, Gu Wenda, Wang Keping and Qiu Zhijie. Ethan Cohen today
    represents a diverse global mix of art, including contemporary American, African, Iranian, Chinese,
    Korean, Japanese, Russian, Pakistani and Thai, with a continuing focus on emerging as well as
    established artists, and has two locations, gallery in Chelsea and The Kube in Beacon, New York.
    https://www.ecfa.com

    Retrospective honours US artist who sparked museum’s commitment to video art

    A major Bill Viola retrospective opening today (30 June) at the Museo Guggenheim Bilbao marks the US video artist’s “special connection” to the museum, says its director Juan Ignacio Vidarte. He describes the show, which runs until 9 November, as a highlight of the year-long programme of exhibitions and events honouring the 20th anniversary of the Frank Gehry-designed museum in the northern Spanish city.

    Viola’s installation The Messenger (1996), originally commissioned for Durham Cathedral in England, was screened at the Guggenheim Bilbao in 1997, the year it opened. The museum’s 2004 exhibition of the artist’s works catalysed its long-term engagement with film and video art, Vidarte says. A black box gallery dedicated to the medium opened there in 2014.

    The museum had harboured a wish to produce a larger-scale project with Viola for years, Vidarte says, but the time was right for the 20th anniversary. The result spans four decades of work and the evolution of video as an artistic medium, ranging from grainy 1970s single-channel films, such as The Reflecting Pool (1977-79), to recent multi-screen installations.

    Read more

    Shared via The Art Newspaper

     

    Keep IT Alive is an exhibition of Alan Vega’s final work, a suite of haunting large-scale paintings he had completed just before his death in July, 2016.

    The paintings, each composed of a central figure (often disfigured, deformed, or viewed askance) and presented against an obscured and chaotic backdrop, are an extension of the small-scale, serial pencil-and-paper portraiture that Vega produced nightly for over three decades. As paintings, they represent, too, a full-circle return for Vega who began his career as a painting student of Ad Reinhardt and Kurt Seligmann, then moved away from canvas towards sculpture and drawing and music, coming back to the medium, at the very end of his life, after working back through drawing and sculpture again.

    The exhibition also features three of Vega’s iconic light-based sculptures, alongside the figure-based paintings. “They all look different but they’re all basically me and facets of my personality,” he once said of his obsessive focus on depicting distorted male figures.  “I’ve always drawn old men, even when I was a young kid. I used to go out to the Bowery and draw these old guys. Always done while I’m blitzed. Never touch them straight. I write like that, too. Some things come out of me that would never come out of me straight. Never. The sculptures I would never do any other way but straight. That’s dangerous shit, man.”

    Born in Brooklyn in 1938, Vega is known first as one-half of the groundbreaking electro-punk duo Suicide, which initiated the merger of adversarial rock and anti-establishment performance that became punk, even as it left the movement behind. But music was always Vega’s second act. At Brooklyn College, he became involved with the activist collective Art Worker’s Coalition, which lobbied aggressively for museum reform and even barricaded MoMA, and with the Project of Living Artists, an anarcho-residency-performance space which emerged from it. He moved from painting to sculptures assembled from light fixtures and discarded electronic detritus, works which critic Simon Reynolds described  “trash-culture shrines from a post-cataclysmic America of the near-future” and Jeffrey Deitch has called “the toughest and most radical art I had ever seen.” Vega staged several legendary shows at OK Harris Gallery, and later inaugurated Barbara Gladstone’s first downtown space in 1983. Through the 1980s and 1990s, Vega continued to make new work, but declined to exhibit it until 2002.

    When Alan Vega’s death was announced by Henry Rollins in the summer of 2016, it seemed as if all of New York was in mourning. Outpourings of love were spray-painted on brick walls, record store sandwich boards cried out for an era lost, and music lovers and downtown doyennes recounted stories of a time that once was.

    Photo credit: Ari Marcopoulos

    ALAN VEGA ALTERNATE VENUE EVENTS:

    “Dream Baby Dream”
    July 18 – July 29, 2017
    Deitch
    18 Wooster Street, New York, NY 10013
    Album: IT
    July 14, 2017
    Listening events to be announced
    Faderlabel.com

    Screening: GoNightclubbing Presents the New York City premiere of:
    Suicide Live! 1980/2002
    +
    In His Own Words/Alan Vega 2002
    July 15, 2017
    Q&A with filmmakers Pat Ivers and Emily Armstrong, plus Martin Rev
    Anthologyfilmarchives.org

    Performance: Martin Rev
    July 21, 2017
    roughtradenyc.com/calendar

    Invisible-exports

    89 eldridge street | new york ny i 10002 i 212 226 5447

    Courtesy of Invisible-exports

     

     

    Museum staff prepares for exhibition at the South Tower gallery in New York, NY on Thursday, May 18, 2017. Photo by Jin Lee, 9/11 Memorial

    Museum staff prepares for exhibition at the South Tower gallery in New York, NY on Thursday, May 18, 2017. Photo by Jin Lee, 9/11 Memorial

    About the Exhibit

    “Cover Stories: Remembering the Twin Towers on The New Yorker” is an exhibition of 33 covers from the weekly news and culture magazine spanning more than four decades of the evolving New York City skyline. The exhibition takes visitors through the magazine’s depictions of the city’s experience as the Twin Towers were constructed and stood as icons of the city, their sudden absence when they were destroyed, the widely felt grief and anxieties in the aftermath of the 9/11 attacks, their commemoration in the years that followed, and the rebuilding of the World Trade Center site now home to The New Yorker and the 9/11 Memorial & Museum. The exhibition will run through May 2018 in the museum’s South Tower Gallery.

    Location
    9/11 Memorial Museum
    180 Greenwich St, New York, NY 10007

    Dates and Times
    Currently open through May 2018 during normal Museum hours

    Price
    Cost of Museum admission ($0-24)

    Website
    https://www.911memorial.org/coverstories

    Shared via Artsy | Artsy Editorial By Anna Louie Sussman

    Alex Logsdail, international director of Lisson Gallery, remembers the first time his father encountered Carmen Herrera’s work. It was 2008, and the painter Tony Bechara had brought some of her canvases to London for the Pinta art fair. None of them sold, says Logsdail, but his father, Lisson Gallery founder Nicholas Logsdail, was smitten.

    “We said, ‘Just leave them here,’” says Logsdail, referring to the unsold paintings. “It sort of seemed blindingly obvious that it needed to be shown, and it was filling a gap in history.”

    Demand for older, female artists like Herrera, who was famously 89 when she sold her first artwork and is now a ripe 102, has risen sharply in recent years, the result of a perfect art-world storm. As institutions attempt to revise the art-historical canon, passionate dealers and curators see years of promotion come to fruition, and blue-chip galleries search for new artists to represent among those initially overlooked, prices and institutional recognition for artists such as Carol Rama, Irma Blank, Geta Brătescu, and Herrera have soared.

    “She wasn’t discovered”

    To be sure, many of these artists have long been known to art-world insiders. Fergus McCaffrey, founder and president of his eponymous gallery, has been collecting Rama’s work since first seeing it at an art fair in Berlin more than a decade ago. He’s since amassed well over two dozen works. Manuela Wirth, co-founder with her husband Iwan of Hauser & Wirth, has long collected Romanian artist Brătescu, although the gallery only began representing her in April. Phillips Collection director Dorothy Kosinski and her husband, the architect Thomas Krahenbuhl, have followed Blank’s work for years, watching sadly as her prices keep moving further out of their reach. Isabella Bortolozzi notes that Rama was awarded the Golden Lion at the Venice Biennale in 2003.

    Read More

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