2013 CARNEGIE INTERNATIONAL ARTISTS ANNOUNCED

BERNADETTE CORPORATION: 2000 WASTED YEARS

Institute of Contemporary Arts (ICA) London
The Mall
London SW1Y 5AH

Bernadette Corporation
2000 Wasted Years
27 March–9 June 2013

Bernadette Corporation with Benjamin Alexander Huseby, "BC Reloaded," 2012

2000 Wasted Years is the first UK retrospective by the New York-based Bernadette Corporation. The exhibition recasts the works authored by the group since their inception in the early '90s.

The origins of Bernadette Corporation lie in the organization of parties in downtown New York, their mock incorporation and ambiguous branding strategies then developing in the mid '90s into a women's fashion line. Their engagement in quotation, concepts, fictions, appropriation, provocation, hoaxes, and anti-artistic postures of crass commercialism have subsequently seen them move within the fields of magazine publishing, film production, political activism, literature and the market-driven art world. Across Bernadette Corporation's twenty-year history and mutable membership there runs a thread of anonymity and opacity, the rejection of normative social forms and appellations such as being an artist, or a political activist. This 'whatever' subjectivity is as evident in the twenty-something museum guard turned model/muse anti-heroine of their 2004 novel Reena Spaulings, as it is in the radicalism of Black Bloc anarchists at the heart of the 2003 film Get Rid of Yourself.
2000 Wasted Years uses 'retrospection' as another turn in the corporate subjectivity of Bernadette Corporation. A lyrically and conceptually complex relay of the quotidian continues to engage the collective today, all the while underscored by the 'reality' of Bernadette Corporation, both as a group of relationships, and as brand.

TwoHOTEL ART PROJECT by FABIAN MARTI

YAYOI KUSAMA SIGNS With ZWIRNER IN NYC

Yayoi Kusama has officially signed with David Zwirner in New York, reports Carol Vogel of the New York Times. Kusama left Gagosian Gallery this past November, following the departure of Damien Hirst and the announcement that Jeff Koons, also signed with Gagosian, would be mounting a solo exhibition at David Zwirner in the spring of 2013. Since that point, rumors have circulated that Kusama had joined Zwirner’s stable of artists but the union was not confirmed until today. A solo exhibition of Kusama’s new work is slated for the fall of 2013 at Zwirner’s Nineteenth Street location in Chelsea.

CINDY SHERMAN: GUCCI MUSEO FLORENCE

The Gucci Museo in Florence is having a solo exhibition of the early works of American artist Cindy Sherman. On display are three bodies of Sherman’s work: a short film, Dollhouse, and two photographic series, Murder Mystery People and Bus Riders. The work comes from her final year at Buffalo University and her first year after graduation when, along with a group of fellow artists, she established an artist commune and gallery space called Hallwalls. The body of work on display is evidence of Sherman’s long-standing fascination with gender and identity, themes that became integral to her work. The prints from both the Murder Mystery People series and the Bus Riders series were lost or discarded after they were exhibited in the late seventies. The former, originally 250 photographs, was created as a film noir-style narrative in which Sherman plays different characters, with the plot unfolding in a series of frames. In Bus Riders, Sherman recreated every day characters that rode the Metro Bus 535 in Buffalo—the pimply teenager, the grandmother, the working woman—and photographed them in various ‘bus travel’ posses. The two photographic series show many crucial developments in Sherman’s career. The two photographic series show many crucial developments in Sherman’s career. It was not long after she completed this work that Sherman moved to New York and began the Untitled Film Stills series that ultimately launched her career.

ADA LOUISE HUXTABLE (1921–2013)

Ada Louise Huxtable, the first architecture critic of the New York Times, who championed buildings that celebrated civic history and whose writing forged a place for architecture in the daily press and mainstream public dialogue, has passed away at the age of ninety-one. Huxtable began her post at the New York Times in 1963. Before that, Huxtable had acted as assistant curator of architecture and design at the Museum of Modern Art and was also a Fulbright and a Guggenheim fellow. She quite simply, changed the way most of us see and think about man-made environments. Even though knowledgeable about architectural styles, Huxtable often seemed more interested in social substance. She invited readers to consider a building not as an assembly of pilasters and entablatures but as a public statement whose form and placement had real consequences for its neighbors as well as its occupants.” Among many awards, Huxtable won the first Pulitzer Prize for distinguished criticism in 1970. She has written several books and was most recently the architecture critic of the Wall Street Journal. Said Huxtable in 1971: “I wish people would stop asking me what my favorite buildings are. I do not think it really matters very much what my personal favorites are, except as they illuminate principles of design and execution useful and essential to the collective spirit that we call society. For irreplaceable examples of that spirit I will do real battle.”

HAPPY NEW YEAR!

TO OUR CLIENTS, COLLEAGUES AND DEAR FRIENDS HAPPY NEW YEAR FROM BARBARA BALKIN INC. !!

BRING IT ON!

BONNIERS KONSTHALL: STERLING RUBY

 

 

 

 

 

 

Born in Bitburg (Germany) in 1972, the American artist Sterling Ruby lives and works in Los Angeles.

On December 15th Bonniers Konsthall opens the first large solo exhibition for the Los Angeles based artist Sterling Ruby in Scandinavia. Sterling Ruby, whose been named one of the 2000s most interesting artists, works in a mixture of materials and genres, from glazed biomorphic ceramics to drawings in nail varnish. He takes his subject matter from a wide range of sources, including maximum security prisons, urban gangs, modernist architecture, and the mechanisms of warfare.  His works can be seen as a form of assault on both materials and social power structures. The universe of Soft Work is by first look playful, soft and humorous but will soon reveal a dimensions of fear or terror. The artist transforms pillows, blankets, and quilts from objects of comfort into ominous sculptural objects that hint at the possibility that safety and security are an illusion. Here the American flag is used as material in gigantic vampire mouths and obese stuffed animals hangs from the roof like macerated cadavers.

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  Sterling Ruby

  Born in Bitburg (Germany) in 1972, the American artist Sterling Ruby lives and works in Los Angeles. He has exhibited in numerous institutions and galleries, including the Museum of Contemporary Art in Los Angeles, the Galleria d’arte Moderna e Contemporanea in Bergamo and at FRAC Champagne-Ardenne.

  Photo: Hedi Slimane/Courtesy Almine Rech Gallery, Paris
  

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  On December 15th Bonniers Konsthall opens the first large solo exhibition for the Los Angeles based artist Sterling Ruby in Scandinavia. Sterling Ruby, whose been named one of the 2000s most interesting artists, works in a mixture of materials and genres, from glazed biomorphic ceramics to drawings in nail varnish. He takes his subject matter from a wide range of sources, including maximum security prisons, urban gangs, modernist architecture, and the mechanisms of warfare.  His works can be seen as a form of assault on both materials and social power structures.
  The universe of Soft Work is by first look playful, soft and humorous but will soon reveal a dimensions of fear or terror. The artist transforms pillows, blankets, and quilts from objects of comfort into ominous sculptural objects that hint at the possibility that safety and security are an illusion. Here the American flag is used as material in gigantic vampire mouths and obese stuffed animals hangs from the roof like macerated cadavers.
  The exhibition is organized in association with Centre d’Art Contemporain, Genéva,On December 15th Bonniers Konsthall opens the first large solo exhibition for the Los Angeles based artist Sterling Ruby in Scandinavia. Sterling Ruby, whose been named one of the 2000s most interesting artists, works in a mixture of materials and genres, from glazed biomorphic ceramics to drawings in nail varnish. He takes his subject matter from a wide range of sources, including maximum security prisons, urban gangs, modernist architecture, and the mechanisms of warfare.  His works can be seen as a form of assault on both materials and social power structures. The universe of Soft Work is by first look playful, soft and humorous but will soon reveal a dimensions of fear or terror. The artist transforms pillows, blankets, and quilts from objects of comfort into ominous sculptural objects that hint at the possibility that safety and security are an illusion. Here the American flag is used as material in gigantic vampire mouths and obese stuffed animals hangs from the roof like macerated cadavers.

OHWOW AT ART BASEL MIAMI BEACH

Dan Colen, TBT, 2012, Courtesy of the artist and Gagosian Gallery 

DAN COLEN TBT 2012 - CONCRETE FILLED WHOOPEE CUSHION

It Ain't Fair 2012

December 6 - 9, 2012

Miami Beach, FL

OHWOW is pleased to announce the fifth and final edition of the annual group exhibition It Ain’t Fair (IAF). Coinciding with Art Basel Miami Beach, It Ain’t Fair 2012 celebrates the history and tradition of IAF‘s renowned multimedia production, and closes the chapter on what came to define OHWOW’s identity as a community platform for progressive art in all media. Since the first installment in 2008, It Ain’t Fair proved an innovative and divergent idea; an exhibition and project providing an alternate experience to the dozens of December art fairs in Miami. The exhibition continued to evolve through the years, yet always reflected its time, excelling at capturing the trends occurring in contemporary art. The final IAF moves from the Design District to a 6,000 square foot location on the beach to accommodate a large-scale exhibition and various projects, delivering a climactic conclusion to this definitive enterprise. It Ain‘t Fair 2012 assembles a selection of over 30 contemporary artists, many who contributed in past years, along with several new names. In addition, OHWOW brings its Los Angeles-based pirate station, Know Wave Radio (www.know-wave.com), to Miami Beach for a full week of live programming to include performances, DJ sets, and interviews. IAF 2012 will also host a soup kitchen – a social project that provides free dinner to anyone wanting a meal, daily from 5 to 7 PM. Hundreds of artists and creatives make the trip to Art Basel Miami Beach every year on shoestring budgets; the soup kitchen gives back and supports a community that has helped shape the energy and success of OHWOW’s endeavors.

743 Washington Avenue, Miami Beach, FL 33139

Hours:
December 7 – 8, 11 – 7 PM
December 9, 11 – 5 PM

Anish Kapoor Makes 'Gangnam Style' Video for Ai Weiwei

CORY ARCANGEL: MASTERS AT CARNEGIE MUSEUM OF ART

Ed Ruscha, Woody, and the World's Hottest Pepper

Jonathan Horowitz: “Your Land/My Land: Election ’12,” (2012)

This October, the New Museum will present “Your Land/My Land: Election ’12,” (2012) an installation by artist Jonathan Horowitz to coincide with the 2012 American presidential election season. The exhibition will be staged simultaneously at art museums across the US.

“Your Land/My Land: Election ’12” is a reimagined installation originally presented by Horowitz during the 2008 presidential election. At each location (as in ’08), red and blue area rugs will divide the exhibition space into opposing zones, reflecting America’s color-coded, political, and cultural divide. Back-to-back monitors will be suspended between the carpets, with one broadcasting a live feed of Fox News, the other of MSNBC. The installation will provide a location for people to gather and watch coverage of as well as talk about the presidential election. Its central trope is a divided United States swathed in only red and blue.

At the New Museum, the installation will occupy the Lobby, incorporating the front window and its view on to the street. The text “Your Land/My Land” will be adhered to the window, referencing This Land is Your Land by Woody Guthrie, which originally addressed the issue of land ownership. According to Horowitz, “If race and gender were the defining themes of the ’08 election, economic policy and economic disparity will likely be the defining themes of the 2012 election. The placement of the text on the window will extend this metaphor to the land of the museum and the land outside. To some, museums are decidedly blue—elitist bastions of liberalism—to others, they are lynchpins of a capitalist art market analogous to other capitalist markets that have been collapsing around us.”
When “Your Land/My Land” opens, a portrait of President Obama, as the current representative of all Americans, will hang from the ceiling between the two sides and a portrait of Mitt Romney will sit on the floor. On election night, each venue will host an election returns event, with the installation becoming a minimalist backdrop. If Obama wins, the position of the two portraits will remain the same. Should Obama be unseated, their positions will be switched.
The installation will be customized for each particular museum and attention will be drawn to the role that cultural institutions can play in a democracy. Over the course of the exhibition, some participating venues will offer voter registration and host presidential debate screenings. A website, accessible at each museum, will link the different locations and visitors will be invited to post comments. Visitors may also connect on Twitter using #YLML.
Participating venues include:
Contemporary Art Museum St Louis, MO – September 7–November 11
Contemporary Art Museum Raleigh, NC – September 22–November 12
Contemporary Arts Museum Houston, TX – September 29–November 11
Hammer Museum, Los Angeles – September 30–November 18
Utah Museum of Contemporary Art, Salt Lake City, UT – October 5–November 24
New Museum, New York – October 10–November 18
Telfair Museums, Savannah, GA – October 12–November 11
About the Artist
Since the early 1990s, Horowitz has made art that combines the imagery and ambivalence of Pop Art with the engaged criticality of Conceptualism. Often based on popular commercial sources, his work examines the deep-seated links between consumerism and political consciousness, as well as the political silences of postwar art. Recent solo exhibitions include “Minimalist Works from the Holocaust Museum,” Dundee Contemporary Arts, Scotland (2010), “Apocalypto Now,” Museum Ludwig, Cologne (2009), and the retrospective exhibition, “And/Or,” P.S.1, New York (2009).

JEREMY DELLER: JOY IN PEOPLE: ICA PHILADELPHIA PA

September 19 through December 30, 2012

Curator Ralph Rugoff chats to Artist Jeremy

REGARDING WARHOL: Metropolitan Museum of Art

 Andy Warhol’s Green Coca-Cola Bottles, 1962

“I’m starting to think of Andy Warhol’s impact like a meteor striking the earth,” says Mark Rosenthal, the organiser and guest curator of “Regarding Warhol: Sixty Artists, Fifty Years” at the Metropolitan Museum in New York. “He created a new topography. And in that topography there are new rivers that form, many things change, to which people adapt. I’m coming to think that Warhol did change the world and had the greatest impact of any artist in the past 50 years.”It’s a thought-provoking statement, but “we’re prepared to argue it” says Marla Prather, the show’s co-curator and the Met’s curator of Modern and contemporary art. “In terms of how Warhol keeps returning to us in the larger cultural theatre of media, television, music, enterprise and even covers for your iPhone, ask yourself, ‘Is there anyone who’s had a bigger influence?’” Taking cues from other shows over the past decade that highlighted the influence of artistic giants such as Paul Cézanne and Pablo Picasso, the Met calls “Regarding Warhol” the first major exhibition to explore Warhol’s influence on his contemporaries and younger generations in depth. Alongside 45 works by Warhol such as Red Jackie, 1964, and Green Coca-Cola Bottles, 1962, the Met has brought together 100 works by around 60 other artists that Prather says have “reacted, reinterpreted and responded”, to Warhol’s work, including Alex Katz, Deborah Kass, Jeff Koons, Elizabeth Peyton, Hans Haacke, Chuck Close, Barbara Kruger, Anselm Kiefer, Ai Weiwei and Ryan Trecartin.Explaining the genesis of the exhibition, Rosenthal says: “I was struck by how often I read that Warhol is the most influential artist of the past 50 years. Every time I saw that statement [however], the writer never said anything afterwards. So I asked, ‘Why is he? Or how is he? Compared with who?’” Rosenthal wanted to answer those questions and whether it was all “a ridiculous idea” with a full exhibition at the Detroit Institute of Arts (DIA), where he has worked as an adjunct curator since 2007.But due to the DIA’s recent financial problems, the Metropolitan Museum began to take over “Regarding Warhol” about two years ago, with Rosenthal still in place as its curator, and the five themes that he had defined for the show: newspapers and magazines, celebrity portraiture, queer studies, appropriation, and a wider final section on “business, collaboration and spectacle”.For the exhibition’s catalogue, which includes an essay by Rosenthal on the five themes, Prather interviewed 13 artists about their artistic relationships to Warhol. She says that the museum took account of whether artists wanted their work to appear in an exhibition about Warhol’s influence, and that Katz was “on the fence” about being included. “Alex is still talking about what Warhol took from him,” Prather says. She mentions that during their interview, she told him: “ ‘Alex, if you feel that Andy stole from you, now’s the time to go on record [laughs].’ People are still absorbing and still fighting it. So I don’t think that these artists live in the shadow of Warhol. They’re individuals in their own right who have taken Warhol’s ideas and stretched them beyond what we could have ever imagined.”The exhibition, which is sponsored by the financial services firm Morgan Stanley, is planned to include an educational programme and an audio tour narrated by the film-maker and actor John Waters. Eric Magnuson Categories: Post-War (1945-70)Contemporary (1970-present)

THE ART NEWSPAPER

 

EXHILARATING! JEFF KOONS AT FOUNDATION BEYELER

SUMMER BEGINS WITH THIS FANTASTIC EXHIBITION!
WE HOPE YOU GET TO ENJOY IT.  WE WILL BE BACK IN THE FALL!!

ARTNET MAGAZINE CLOSES

“My last day is today,” Walter Robinson, the online magazine’s editor, said in a telephone interview yesterday. “The magazine has been in existence for 16 years. All of a sudden it came to a screeching halt today.”

JEFF KOONS: THE PAINTER & THE SCULPTOR

JEFF KOONS
THE PAINTER & THE SCULPTOR
FRANKFURT, GERMANY
20 June – 23 September, 2012

Jeff Koons
Michael Jackson and Bubbles, 1988 Banality
porcelain
© Jeff Koons
This summer, the Schirn Kunsthalle and the Liebieghaus Skulpturensammlung will be devoting themselves to the work of the U.S. American artist Jeff Koons (born in 1955), who has played a pioneering role in the contemporary art world since the 1980s. The two concurrent shows will deliberately separate the sculptural and painterly aspects of his oeuvre and present each in a context of its own. Encompassing some forty paintings, the presentation entitled “Jeff Koons. The Painter” at the Schirn will focus primarily on the artist’s structural development as a painter. With motifs drawn from a diverse range of high and pop-cultural sources, his monumental painted works combine hyper-realistic and gestural elements to form complexes as compact in imagery as they are with regard to content. In the show “Jeff Koons. The Sculptor” at the Liebieghaus, on the other hand, altogether around 50 world-famous as well as entirely new sculptures by Jeff Koons will enter into dialogues with the historical building and a sculpture collection spanning five millennia. Jeff Koons’s Antiquity, a new series in which he explores antique art and its central motif – Eros – will debut in Frankfurt on this occasion.

Serpentine Gallery Pavilion 2012 Designed by Herzog & de Meuron and Ai Weiwei

The Herzog & de Meuron and Ai Weiwei's Serpentine Gallery Pavilion 2012 will open June 1st. It will be the twelfth commission in the Gallery's annual series, the world's first and most ambitious architectural program of its kind. The design team responsible for the celebrated Beijing National Stadium, which was built for the 2008 Olympic Games, comes together again in London in 2012 for the Serpentine's acclaimed annual commission, being presented as part of the London 2012 Festival, the culmination of the Cultural Olympiad. The Pavilion is Herzog & de Meuron and Ai Weiwei's first collaborative built structure in the UK. This year's Pavilion will take visitors beneath the Serpentine's lawn to explore the hidden history of its previous Pavilions. Eleven columns characterizing each past Pavilion and a twelfth column representing the current structure will support a floating platform roof 1.4 meters above ground. The Pavilion's interior will be clad in cork, a sustainable building material chosen for its unique qualities and to echo the excavated earth. Taking an archaeological approach, the architects have created a design that will inspire visitors to look beneath the surface of the park as well as back in time across the ghosts of the earlier structures.

PUBLIC ART FUND NYC SUMMER 2012