You wouldn’t necessarily associate Moishe’s Moving with art and architecture, but you would be wrong not to. Moishe Mana, founder of the moving company, and his right-hand man Eugene Lemay have converted 150,000 square feet of the 1.5 million industrial space they own in Jersey City into the impressive Mana Contemporary, a center that houses over 250 artists’ studios, numerous art galleries, Richard Meier’s Model Museum, Gary Lichtenstein’s Editions printing studio and shop, in addition to dance studios, an art book shop, a bistro, designer studios, a recently completed spectacular column-free 50,000-square-foot separate glass gallery, and who knows what else? I visited last spring during an open studios event and was blown away by the facilities as well as the quality of the art (there are some impressive names on the doors such as Michal Rovner and others.) The Richard Meier Model Museum is a must-see, and there are special exhibits in many of the art galleries. The trip from NYC is relatively quick on the Path train but, as was the case when I visited in May, this Sunday, September 14th there will be free shuttle buses running from the Meatpacking District every half hour, making the excursion irresistible.
I’m not sure if it’s because it’s Fashion Week here in NYC, or because the fall season has begun bringing with it a new crop of looks, or maybe I just hadn’t strolled down Madison Avenue in a while but, when I did yesterday afternoon I was really struck by all the store windows, both in their content and their display design. Barney’s had a series of rotating photos by Bruce Weber titled L.A. Stories; another store whose name escapes me was setting up neon signage along with what seemed to be an outdoor runway, but the windows that stopped me in my tracks were those of Hermès. The mannequin heads were these spectacular sculptures which at first glance looked like blocks of painted wood, but as I got closer I realized that they were actually books. Books! Rolled, fanned, stacked, bent, not only were the mannequin heads stunning (possibly the most fabulous part of the general fabulosity), but the backdrops as well were intricate tableaus created using the edges of books, painted in colors and stripes, in some cases just as multicolor striped motif backdrop while in others 2-dimensional mythical gods. I went in to ask who the artist was and should have recognized the name right away, having posted NYC-born and based artist Nick Georgiou’s work before. Seeing them in person, however, is even more impressive. Kudos to whoever thought to give the job to Georgiou, and of course kudos to the artist himself for making an impressive splash on Upper Mad, specifically at the corner of 62nd Street.
Photos collabcubed and Nick Georgiou
I stopped by the opening of Outlaw Arts’ graffiti and street art show 21st Precinct last Saturday evening. The 1863 NYPD building will be demolished in the coming months and a condominium will take its place, so, as has become recently popular in NYC and abroad, the four-story space was handed over to street artists who covered every wall, door, floor, ceiling, bathroom, and other nooks and crannies throughout with their art. The irony of graffiti in a police station was not lost on many of the artists who themed their work accordingly: there were excerpts from the Miranda Rights sprayed in beautiful type graffiti; there was a bathroom that looked like a murder scene with a blood-filled sink; a machine gun vending machine; Pacino’s Scarface above writing in white powder simulating cocaine on the floor, and much more. Each artist was apparently given a room or hallway or stairway to go to town on, and go to town they did. Some of my personal favorites included Rae-BK, Alice Mizrachi, Yok and Sheryo, Mr. Toll, and of course others who I was not able to identify, such as the bottom photo. (Update: it’s Erasmo.)
It’s interesting to see how street art is increasingly making its way indoors and with that so is the sense of a downtown gallery scene. There were even iPads displaying additional works in some of the rooms and business cards abound. And why not? Just as with any art, there are some truly exceptional artists among many of the more mundane, and I, for one, would be thrilled to have any one of a number of these artists’ works on my walls.
Many of the featured artists were wandering around the opening, blending in with everyone else, except for the rare case of red spandex pants that far from blended, but that seemed to be the point. If you missed the event last weekend, don’t despair, the 21st Precinct at 327 East 22nd St. will be open to the public again this coming weekend 8/23 and 8/24 from 1 to 6pm. If you can’t make it live, you can see many more (and better) photos here and here.
Look up New York! The Water Tank Project has started to roll out…or maybe “wrap around” would be more accurate. I first learned of Word Above the Street’s project roughly one year ago, but was happy to hear yesterday, via an interview on wnyc, that this is actually taking place right now. Filmmaker Mary Jordan, the creative and driving force behind the project, was working on a documentary in Ethiopia in 2007 when she fell gravely ill due to contaminated water. It was the women in the village she was in who nursed her back to health. In return, they asked that she let people know of the global water crisis when she returned to the U.S. Jordan founded Word Above the Street and set out to fulfill her promise through a citywide exhibit on the very icons that proudly contain our own fortunate and excellent water supply. Over 100 water tanks will be wrapped with art by acclaimed artists (such as John Baldessari, Jeff Koons, Maya Lin, Andy Goldsworthy), street artists (including Icy & Sot, Barry McGee, and Fab 5 Freddy), emerging artists, and even NYC public school students. The first one, by Laurie Simmons (top photo), went up two weeks ago on 29th Street near the High Line, and another one (I couldn’t find the artist, but third photo down) on West 25th Street.
Tanks in all five boroughs will be included and, in addition to the art above, action will be taken on the ground through educational programs, tours, and a symposium dedicated to global water issues. So, keep your head up and eyes peeled for the next 3 months if in NYC. Or, if not, you can always follow them on twitter or instagram for the latest updates. Water above all!
Photos & images courtesy of The Water Tank Project
I noticed a few of these in Nolita the other day and then again yesterday right around Astor Place. I wondered what they were about and have since learned that it’s a public art project titled Signs by artist/designer Ryan McGinness fabricated and installed by NYC Department of Transportation (DOT). Apparently there are fifty in all of these vinyl on aluminum signs and, so far, they seem to mostly be downtown. McGinness has sketches of all fifty on his website accompanied by brief, somewhat whimsical/enigmatic descriptions. I couldn’t find more information, such as how the DOT went along with this, but I’m a fan of anything that makes you stop on the busy streets of NYC and ponder. If you’re in the city, keep your eyes open for more of these. They’re scheduled to be up through August.
Top photo: Ryan McGinness; 2nd photo down: Animal; following three photos: DustyRebel.
When it comes to street art, it doesn’t get much cuter than Stik. The British graffiti artist based in London paints mouthless and noseless stick figure characters on walls, doors, water towers, and more, that despite their minimalistic quality exude warmth and charm. Sometimes in groups holding hands (see the two water towers we’re acquainted with in the East Village and Bushwick), and other times alone, these not-so-little guys are usually painted in black and white against solid bright colored backgrounds. In addition to his unauthorized work, the somewhat private Stik, who has been homeless at times, works with many charitable and human rights organizations. See? That good heartedness shines through in his art. Stik’s work can be seen in Europe, NYC, and even the Middle East and Japan. We are fortunate to have two of his works right in our neighborhood.
You can see more of his work here and an interview below:
All images courtesy of Stik except bottom left: Geof Hargadon via Brooklyn Street Art, and bottom right: Paul Whitehouse via Huffington Post London.
Identical twins Trevor and Ryan Oakes engage in probing studies of visual perception and light through material investigations, discovering new methods in the representation of visual reality through their optical obsession. The duo have constructed a concave easel that avoids the distortions that occur when an image is traced onto a flat canvas. Their low-tech method, as I understand it, involves crossing their eyes until an object doubles next to the paper’s edge, floating over the subject matter transparently, which allows them to “trace” it much in the way some painters used camera obscuras with mirrors and pinhole projections during the Renaissance to trace their subjects. But the Oakes’ variation includes the curvature which is consistent with their findings that human vision is spherical. This optical doubling only has an expanse of 2.5″, so they slice their paper in pieces of that width, which are then joined together when finished to present the final drawing/painting. The plaster helmet attached to the easel is movable, but helps keep the head in one spot for extended periods of time.
Presently, the Oakes Twins have an exhibit of their work titled Compounding Visions at MoMath in NYC which runs through July 21, 2014. In the meantime, you might spot them in the vicinity with their easel tracing the Flatiron Building. In the video below, the twins explain their technique directly, which, if you have 5 minutes, is probably the best way to understand it.
Photos courtesy of the Oakes, except top image by Aymann Ismail for AnimalNY.
The past few weeks I’ve spent quite a bit of time in the West Village and occasionally found myself on streets I hadn’t visited in a while. One of these was Leroy Street over by Washington where I came across three typographic murals, or, more accurately, concrete poetry, on the exterior of Gavin Brown’s Enterprise Gallery. It’s hard to explain the happy feeling playful or stylish or clever typography instills in me. That might be because it’s not really logical, it’s just an emotion. It goes as far back as my childhood when the IBM logo or the Design Research logo (and store in general) had a similar effect on me. Even the subway graffiti, not the black tags all over the interior of the cars that created a gloomy feel, but the occasional spectacular tag on the outside of a train car, large, colorful, and with dimension, would inspire me to run home and title my French homework “FRENCH” in block letters or bubble type, much to the dismay of my teacher who probably could have done without the header altogether but, at a minimum, I’m sure would have preferred it read “FRANCAIS”.
Anyway, back to the Concrete Poetry. Defined as “poetry in which the typographical arrangement of words is as important in conveying the intended effect as the conventional elements of the poem, such as meaning of words, rhythm, rhyme and so on,” another term for it is Visual Poetry. After a little research I discovered that these street pieces were created by Swedish artist Karl Holmqvist who is known for his text-based works, poetry, and readings. I don’t claim to know what these mean, but I enjoyed them and the surprise of turning a corner and seeing them there. Make of them what you will.
“No one will be there on a Friday at 4pm in the pouring rain,” she said confidently. Wrong. You would think, after close to a lifetime in NYC, at some point it would kick in that nothing is ever empty, especially an event the likes of Kara Walker‘s monumental Sphinx-like sculpture/installation at the soon-to-be-demolished Domino Sugar Factory. Of course there was a line! One filled with soggy, windblown New Yorkers though, fortunately, it moved quickly with only the waiver-signing process causing a minimal delay. Once inside, it was easy to see why the line advanced swiftly; the space is so vast (90,000 square feet is what I’ve read) that even the biggest of crowds becomes minimized in appearance. All the more reason to be impressed by Walker’s 75 foot long and 35 foot high sculpture whose presence is still quite imposing despite the enormity of the factory. The official title of the work is long, but pretty much spells it all out: A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.
Apart from the white sugar-covered (4 tons of sugar were used) sphinx with the Mammy-inspired head, there are fifteen large-scale black figurines based on ceramic racial tchotchkes that Walker came across online, of brown-skinned boys carrying baskets. These 5-foot tall sculptures are made of molasses-colored candy, much of which is slowly melting (can’t wait to see what these look like in the heat of late June) and in some cases are more red in color than brown, making it difficult not to associate with blood and the horror of beaten slaves, or of the workers who lost their limbs and lives in the dangerous process of feeding the cane into large mills. Blood sugar. There was an interesting interview with the artist on NPR last week in which Walker pointed out another curious parallel: sugar is originally a brown substance that is considered more valuable as it is “refined” and turned into a white crystal.
Walker has given us lots to think about here. In addition, I should point out that the factory itself is worth the visit. What an amazing space. Every direction makes for a great photo-op filled with rusty textures and machinery.
A Subtlety will be up Fridays through Sundays until July 6th at the Domino Sugar Factory on Wythe and South 2nd Streets in Williamsburg, Brooklyn. And it’s free! Be sure to check out the geometric street art by Rubin415 outside along the fencing while you’re there (bottom photo).
Chilean artist/designer Sebastian Errazuriz (previously here, here, & here) has taken the birthday piñata of his youth and put a spin on it for this year’s NYCxDesign Festival. His monumental Golden Calf, or Cash Cow, will provocatively serve multiple purposes: a symbol of celebration; a symbol of capitalism; and as a symbol of “anti-capitalistic” greed. At the end of the festival, guests will be invited to smash the symbol of capitalism to smithereens. The oversized piñata will be filled with over 1000 dollar bills that will tumble out once the beating is successful. The irony that Errazuriz anticipates is the moment when the anti-capitalist rage in the piñata bashers turns into greed as the very same crowd ends up running for the cash themselves, stuffing their pockets with the bills. “I’d like to see people rolling on the ground and fighting for dollars,” he said. Wouldn’t it be nice if he were wrong.
Errazuriz’s golden calf will be on view at Industry City in Sunset Park, Brooklyn until May 20th at which point mayhem should ensue at 5pm.
Top photo: NY Daily News. All others: courtesy of the artist.
Reminiscent of the summer of 2000 when The Cow Parade hit the streets of NYC—we were huge fans, having set out on the mission to find all the cows and photograph ourselves with our favorites, pre-social media era, just for our own pleasure…imagine that!— this April the city has kicked off The Big Egg Hunt NY with close to 300 eggs “hidden” around town that Fabergé commissioned artists, designers, and architects to paint, or create their own, all in the name of charity. The participants are an impressive bunch, from artists such as Jeff Koons and Julian Schnabel, to architects Zaha Hadid and Morphosis, to graphic designer Debbie Millman, fashion designers including Cynthia Rowley and Diane Von Furstenberg, and, of course, street artists: Dain, Cost, Faust and plenty more. Unlike the cows at the beginning of the century, the eggs can be tracked via smartphone app that will notify a person if they’re near an egg and will place it on a map once it’s been discovered (and checked in) by ten people. It seems many of the street art eggs are located downtown, other eggs are exhibited in Grand Central, Rockefeller Center and Columbus Circle (there are a whole bunch more photos here.) But those are just a few eggsamples… there are lots more to find all across the boroughs, so get cracking! Well, you know what I mean. You have until April 17th. After that they’ll be exhibited at Rockefeller Center through the 25th and then auctioned off. Anyone can bid via the website and there are also more affordable mini versions available in the site’s shop.
Photos courtesy of The Big Egg Hunt NY & facebook page; danap07’s instagram; and complex.
It’s been an art-intense week in NYC, with more art fairs in town than time to view them. I did, however, get to almost all of them and will cover some of the highlights for me, sporadically over the next couple of weeks. Overall, and very in general, I continue to have a bit of a weakness for VoltaNY and The Armory Show, but Spring/Break was a nice surprise, with its edgier works and installations and its very topical theme of PublicPrivate. Less surprising were Scope and Fountain, which seemed to have a lot of repeats from previous years, but then, arriving at Fountain after over four hours at the piers might not have been the freshest way to take it all in. The banners hanging from the upper floor were pretty great, though.
So first here, from the Armory Show, are West African artist Romuald Hazoumé’s whimsical contemporary African masks made using discarded plastic containers, in particular gasoline canisters. Though the masks link to the artist’s heritage, they also represent his critical vision of political systems. “I send back to the West that which belongs to them, that is to say, the refuse of consumer society that invades us every day.” Hazoumé was at the Armory booth when I was there, explaining to a small group that in several of these masks, the hair was very telling of a woman’s relationship status. For example: the criss-crossed braids topping the black diamond-shaped mask represents a woman who is content, but not thrilled by her husband. The yellow jug with the bunched up hair on top, is a woman who is thrilled by her man. The blue canister with the twisted braids shooting out and turning downwards, is a very dissatisfied woman. So, there you have it. Romuald Hazoumés masks reminded me a little of Willie Cole’s shoe masks (here), and whose work was nicely featured at Volta this year, including this fun sculpture made using irons.
For performance artists/architects Ward Shelley and Alex Schweder (previously here) sharing an unconventional living space is not a new concept. Their “performance architecture” has taken unusual forms such as a hanging see-saw-like structure or a stacked-living arrangement, in each case co-dependent on the other’s movement. Their latest installation/performance is titled In Orbit: a 25-foot wheel hanging from the ceiling, complete with two beds, desks, chairs, sinks, and apparently porta-potties (fortunately those don’t flip with the wheel), one of each at the counterpoint of the other. Ward Shelley lives on the exterior of the wheel, while Alex Schweder on the interior. And live they will, like this, without getting off, for a total of ten days. Currently they’re halfway through their stay. Any time one of them wants to use the sink or lie on the bed, they both have to slowly walk, rotating the wheel—much in the way a hamster makes his/her cage wheel rotate—to get to that particular item, in unison, and they both have to be in agreement as to the current activity. Schweder can’t choose to work at his desk while Shelley lies on his bed. That simply won’t work.
For those of you in NYC, you can visit In Orbit and witness their cohabitation at The Boiler through March 9, 2014. After that the structure will remain on view until April 5th sans artists. For everyone else, there’s the video below:
Photos courtesy The Boiler; top photo eyespeed’s instagram
If you walk by Madison Square Park here in NYC from now through April 13th, you’ll spot a confusing sight: three water towers, the sort we usually see perched atop the city’s buildings holding much of our water supply—and usually a familiar part of the urban landscape. The three tanks in the park, however, do not contain water but rather are Brooklyn-based Chilean artist Iván Navarro’s (previously here and here) latest light installation titled This Land is Your Land after the Woody Guthrie song. This site-specific piece “reflects” the experience of immigration through mirrored neon type, as well as a neon ladder, that repeat infinitely within the wooden cylinders. The word “me” reflects becoming “we” alternating up the interior of one tank, while “BED” in another. I stopped by during the day and then again at night to see these and enjoyed the experience both ways. Having them stand low in the park, with the backdrop of the Flatiron building from one angle and, at night, each one glowing downward with the brightly lit Empire State Building behind from a different position, make the choice of location all the more appropriate. So, make a point to pass by, and peek under, Navarro’s water towers before April 13th.
Photos: James Ewing via Madison Sq. Park’s flickr; Paul Kasmin Gallery; and collabcubed.
A couple of weekends ago, when Dan was in town for a short visit, we went over to the David Zwirner Gallery in Chelsea to catch the new Doug Wheeler light installation. Having been to the previous Wheeler show two years ago (here) I was very excited to share the experience with my daughter. Unlike the last exhibit, there was no line. In fact, we were asked if we had a reservation, which spurred a moment of panic but, fortunately in our case, it was of no consequence. However, also unlike SA MI 75 DZ NY 12 this Wheeler light installation was less surprising and disorienting, which isn’t a bad thing, just different. While the last exhibit was a bit unnerving upon entry — not being able to tell where the room began or ended — this domed room shows its edge and horizon line right from the door. The previous work instilled a bit of anxiety, this one a calm and soothing effect. As in many of Wheeler’s works the immersive environment emphasizes the viewer’s physical experience of space, in this case focusing attention on the way light almost imperceptibly changes along the horizon as the earth turns. If the last exhibit installation felt like being in a cloud, I would equate this one (based on no personal experience, obviously) to a moon-like atmosphere. Forget watching George Clooney in Gravity, head over to David Zwirner and immerse yourself in Doug Wheeler’s rotational horizon. Best to make a reservation, just to be on the safe side. The installation will be up through March 29, 2014.
Third photo courtesy of David Zwirner Gallery. All others collabcubed.
What would you do with 500,000 sugar cubes? Well, if you’re Irish artist Brendan Jamison and his sculptor collaborators Mark Revels, Mary McCaffrey, Lydia Holmes, and David Turner, you build a metropolis, naturally. A Sugar Metropolis. Brendan Jamison and his crew did just that this past October through January at the Ulster Museum in Belfast, Northern Ireland, inviting visitors to participate in the ongoing construction of sugar buildings with the assistance of the experts. Now, with the help of No Longer Empty (previously here and here) they’re bringing their project to Harlem this summer; the Sugar Hill district, no less! The event aims to celebrate the power of collaboration in art, engaging local residents of all ages in the community to help build their own Sugar Metropolis, with the goal to ignite the imagination of everyone in the neighborhood. Brendan Jamison has created a Kickstarter page to help fund the project, so see if you might want to consider contributing to their generous creative efforts.
Here’s Ulster installation in progress:
It’s been, and continues to be, a long and relentlessly snowy winter here in NYC this year, but Brooklyn-based author/illustrator Shelley Jackson is making the best of it. With admirable handwriting, Jackson has set out to writing a story in the snow—one word at a time—photographing each one and posting them to her instagram. Reading from oldest photo to newest, you can follow the ongoing story, waiting with bated breath for the next words to appear. Photos, it seems, are posted in relatively large batches roughly once a week, so maybe you can get a sentence or two in at a time. Story aside, the photos themselves are lovely, with great composition and a splash of color here and there. This is not the first time Shelley Jackson has taken to story-telling a word at a time; SKIN, a story published in tattoos on the skin of 2,095(!) volunteers is a previous project.
You can follow SNOW (in reverse order) over here, “weather permitting”, but from the looks of things outside, that shouldn’t be an issue…this could end up being a multi-volume story.
Photographer Fred Cray’s (previously here and here) latest exhibit at Janet Borden Gallery centers around his ongoing work titled Unique Photographs. It’s a fun idea that engages the public, distributing his unique artworks in the most unexpected places. But, really, who better to describe it than the photographer himself?
“This project is referred to as Unique Photographs which is also the title of the first overview book about the project. The second book, Changing the Guard, is a counter point to the first book and uses the same image double printed to make hundreds of unique print variations. The photographs have been hidden literally around the world with the intent of surprising people in pleasant ways, perhaps being kept as gifts. This should be an on-going project taking on new permutations for a number of years. The photographs have been stamped and numbered with holes being punched in the photographs recently to reinforce the notion of the photographs being unique objects.”
You have until February 21st to see the show at Janet Borden. Additionally, you can purchase both books here and here. And keep your eyes peeled for Fred’s unique photographs around your neighborhood. You never know where the next one might pop up…