At the New Museum, a time capsule from the garbagey, abstract, political New York art scene of 1993:
While the year 1993 may be historically arbitrary, what this art world cross-section offers instead is a turning point. “It’s a moment in which you can see the 80s coming to an end and a new era, for better or for worse,” said curator Massimiliano Gioni.
Bio: Whitney Kimball is an artist and writer. She is an associate editor of Art Fag City. She can be found on Twitter @WhitneyKimball.
While the year 1993 may be historically arbitrary, what this art world cross-section offers instead is a turning point. “It’s a moment in which you can see the 80s coming to an end and a new era, for better or for worse,” said curator Massimiliano Gioni. More
Postedsdf
on February 19th, 2013 2:28pmHoberman terms our new digitally-affected pictures "cyborg cinema.” He’s defined this previously in a New York Review of Books essay titled “Trapped in the Total Cinema,” with examples like Tron, Jurassic Park, Andy Serkis's portrayal of Gollum in Lord of the Rings. The Matrix, in particular, created a dystopia which was “a kind of model for cyberspace.” “Photography had been superseded, if not the desire to produce images that move,” Hoberman said, and added, a little forebodingly: “In this brave new world, Chaplin is perhaps a footnote to Mickey Mouse." If there’s no camera, is it still a film? More
Postedsdf
on January 25th, 2013 11:03am“We shared and offered spare generators, gloves, masks, suits, headlamps etc during it all,” Wallspace's Nichole Caruso told me last week over email. “The camaraderie in Chelsea has always been incredible, to say the least, and during this time it was no different. Everyone banded together and helped one another where and however they could.” The gallery re-opened its show of Gaylen Gerber’s 20th-century minimalist art and African sculpture painted white and gray. A block and a half east on 10th Avenue, though, recovery seems farther down the road. Printed Matter reported having lost 9,000 books from its basement and $200,000 in damages. Nonprofit spaces the Kitchen and Eyebeam reported having lost hundreds of thousands of dollars in equipment, and 80 percent of Eyebeam's 15-year digital archives were damaged by corrosive flood waters. More
Postedsdf
on January 15th, 2013 5:31pmI think that's something that's a thread: collecting, I suppose. Collecting in relationship to found material…. But also, something that's quite specific is that many people are showing work by other artists. Jason Simon, for instance, is showing his collection of Chris Marker material. And Julie Ault, we're showing some material related to Theodore Kaczynski [the Unabomber]. There's a thread going through the show of artists who have responded to something interesting in the world, I suppose, and have translated that into the process of collecting and representing. I guess that goes hand-in-hand with the idea of the White Columns Annual, which is essentially that you're representing things that you saw elsewhere. It's almost more a form of collecting than curating. More
Postedsdf
on January 10th, 2013 3:11pmHad Rosler, she asked, drawn any new conclusions on her idea of the garage sale as a self-image? “Well, the artist is always the last to know!” Rosler joked. “But I have to say, it’s remarkable—I’m not that surprised—but it’s remarkable to me to see an active resistance of people to thinking of this as anything other than a space in which they get to buy something they want, and in which we are here to serve them. And who are quite grumpy about the possibility that something else might be infusing it with what it is.” More
Postedsdf
on November 30th, 2012 12:30pm“I didn’t find any themes,” she told me. The opening was well attended by art press, notably Sarah Thornton and Jerry Saltz. Donnelly led us through three galleries on the fourth and fifth floors, each of which looks like a separate show. One comprises a single, broken row of mid-20th century Eliot Porter photographs of small birds; another, a salon-style roadshow, spanning the late 19th and 20th centuries; and the third, a sort of answer to the New Museum’s recent Ghosts in the Machine, with Art Nouveau-style furniture pieces and 1980s microchip diagrams. More
Postedsdf
on November 12th, 2012 4:28pm
