Who said art had to be serious?
Check out Galerie Perrotin’s recently opened Paola Pivi’s "Ok, you are better than me, so what?".
Pivi’s first solo exhibition in the United States is whimsical, colorful, and lighthearted. Don’t forget to visit the rest of the show on the bottom floor - probably the only place in New York where money literally shoots out at you AND you can take it with you!
Closes October 26
(Photos by me)
(Photo by Paul Porter/BFA)
In the year since storm Sandy rocked the east coast, the art world has reacted in many different ways. Recently, in a 6 story warehouse called Industry City, The Brooklyn Rail and the Dedalus Foundation mounted Come Together: Surviving Sandy, Year 1, an exhibition curated by the Rail’s Phong Bui. The 100,000 square foot
pop-up museum opened to the public on October 20th and includes over 300 artist contributors.
The grand opening celebrated the many artists involved and their strength to pull through one of the worst storms to ever hit the east coast. Come Together: Surviving Sandy also exhibits works that reference the storm as well as other artists who were invited to participate in the “spirit of solidarity”. One such artist submitted a work that uncannily predates the Superstorm. Dustin Yellin, a Brooklyn artist whose studio was one of the hardest hit, presented a 12-ton Triptych sculpture “After the Flood” which greets guests on the first floor of the exhibition.
(Photo by Paul Porter/BFA)
The massive exhibition kicked off with a private opening event on October 17, where guests wandered through 4 of the 6 floors of the warehouse and mingled with artists, celebrities, and other VIPs. The party lasted well into the night, with curator Bui along with Industry City’s Andrew Kimball and Dedalus Foundation’s Jack Flam kicking the night off with celebratory remarks in front of Yellin’s glassy triptych.
(Photo by me)
My night ended, as I wish it always did, in an elevator ride with Chuck Close, another participating artist, who was on his way up to the top floor of the show to see his two submitted works.
Open Thursdays through Sundays from October 20 – December 15, 2013*
12:00 PM to 6:00 PM
220 36th Street
Brooklyn, NY 11232
AFTER, curated by Kelly Behun and Alex P. White of kelly behun | STUDIO at R 20th Century Gallery, Sept. 2012
A gorgeous John Chamberlain at the grand opening of the Pizzuti Collection in Columbus Ohio, Sept. 6, 2013. Photo by Taylor Maatman
Ashley Bickerton Opening at Lehmann Maupin Gallery. Sept. 11, 2013. Photo by Taylor Maatman
Sheep have come to New York and are grazing in the Chelsea gallery district. Well, they’re actually grazing in a gas station. Dubbed “Sheep Station”, this public art program slash pop-up installation in the heart of New York’s gallery row helped kick off gallery season and was a welcome spot of dry during last Thursday’s torrential downpour.
(View of “Sheep Station” from 10th Avenue, New York)
In the midst of sloshing and slipping into openings like Pace’s Irving Penn show and Marianne Boesky’s modernist Mirror installation, I came to the corner of 24th Street and 10th Avenue, where I found a herd of ‘moutons’ in a hilly, picturesque (gas pumps included) green pasture. The stone and bronze sculptures of sheep are part of an arts initiative based on the former Getty filing station and pioneered by collector/developer Michael Shvo.
For “Sheep Station”, Shvo partnered with gallerist Paul Kasmin and brought the work of the late Francois-Xavier Lalanne to the corner gas pump. The french artist was famous for his sculpture sheep, or ‘mountons’, having exhibited them for the first time in 1965 in an exhibition called “Moutons de Laine”. For us, the quant scene set against the industrial backdrop of the west side of Manhattan offers a moment of joy, humor, and simplicity - or according to the press release (and Lalanne) joie de vivre. Touche Francois!
Although eventually the site will be turned into a luxury high rise, for now, we can expect a rotating series of public art installations for the next couple of years and a few more weeks of the sheep invasion.
“Sheep Station,” from Getty Station is on view at 239 Tenth Avenue through October 20, 2013.
Ken Price’s Sculpture exhibition at the Metropolitan Museum of Art is a beautiful, simple and engaging exhibition that stands in stark contrast to a summer filled with over the top art world shenanigans where Tilda Swinton slept in a box, Jay-Z took over Pace, McCarthy sexually assaulted the Park Ave Armory and Turrell lit up the Guggenheim rotunda. It’s a bit overwhelming at times to live in New York and try and juggle the onslaught of manic, over-the-top exhibits. What I enjoyed most about Price’s retrospective was the nuanced calmness of it all, the whimsical, yet thoughtful sculptures packed into the too-small modern wing of the Met.
Price’s sculptures ooze sexy confidence, ranging in form from blobby to linear, where color plays the leading role. The architectural sculptures are as harsh as they are strong, and the patterned egg-shaped and alien-esque forms are silky and colorful, all with the cut-out motif that draws a thematic line through the whole retrospective. A theme that comments on the wholeness and/or emptiness of ceramic sculpture. To me, though, the pieces, with their cut outs and all, seemed as sturdy and concrete as a marble sculpture. Maybe that’s the most beautiful part of his creations.
The greatness of his small-scale works in ceramic were mirrored in the detailed drawings that appeared at the end of the show, which included works on paper from the early 2000’s. Mostly landscapes, the drawings were incredibly detailed, colorful and full of whimsy and felt a little comic booky.
Ken Price’s Sculpture show demonstrates the artist’s ability to traverse the worlds of craft, architecture and art and will be on view at the Metropolitan Museum of Art through September 22.