- Chris Burden: Extreme Measures at the New Museum
- Vasily Kandinsky: From Blaue Reiter to the Bauhaus, 1910-1925 at the Neue Galerie
- The Armory Show at 100: Modern Art and Revolution at The New-York Historical Society
- Rebirth: Recent Work by Mariko Mori at the Japan Society
- Mike Kelley at MoMA PS1
- Mike Kelley: Extracurricular Activity Projective Reconstruction #1 at the Museum of Modern Art
- The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the Brooklyn Museum
- Christopher Wool at the Solomon R. Guggenheim Museum
- News/Prints: Printmaking & the Newspaper and New Prints 2013/ Autumn at the International Print Center New York
- Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan, 1970–1980 at the Whitney Museum
- Public Art Fund Talks: Mark Manders
- 1913 The World Implodes: A Series of Talks and Performances at The Metropolitan Museum of Art
- ICP Lecture Series: Sophie Calle
- The Creative Time Summit 2013: Art, Place, and Dislocation in the 21st-Century City
- A Benefit for Triple Canopy Honoring Brian O'Doherty
Chris Burden, Trans-fixed, 1974. Performance on Speedway Avenue, Venice, California, April 23, 1974. Photo: Courtesy the artist and Gagosian Gallery
Chris Burden: Extreme Measures at the New Museum
This October, the New Museum will present an expansive presentation of Chris Burden’s work that marks the first New York survey of the artist and his first major exhibition in the US in over twenty-five years.
Burden’s epoch-defining work has made him one of the most important American artists to emerge since 1970. Spanning a forty-year career and moving across mediums, “Extreme Measures” presents a selection of Burden’s work focused on weights and measures, boundaries and constraints, where physical and moral limits are called into question.
Over the past four decades, Burden has created a unique and powerful body of work that has redefined the way we understand both performance and sculpture.
The New Museum
New York, NY 1002
Vasily Kandinsky, Panel for Edwin R. Campbell No. 1, 1914. Oil on canvas.The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund, 1954. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris
Vasily Kandinsky: From Blaue Reiter to the Bauhaus, 1910-1925 at the Neue Galerie
While Vasily Kandinsky (1866-1944) is celebrated as a father of abstraction, the artist is lesser known as an early pioneer of installation art. Connecting art, music, and theater, this exhibition of masterworks explores the development of Kandinsky's art during a crucial chapter of his career: from the Blaue Reiter period into the pure abstraction and total environments of his Bauhaus years. Central to the exhibition is a gallery devoted to the reconstruction of Kandinsky's murals for theJuryfreie Kunstschau (Jury-Free Art Show) held in Berlin in 1922, a utopian project designed by Kandinsky and executed by his Bauhaus students. Over 80 works comprise the show, including large-scale paintings, rare drawings, and decorative objects.
Neue Galerie New York
1048 Fifth Avenue
New York, NY 10028
Marcel Duchamp, (French, 1887-1968), Nude Descending a Staircase (No. 2), 1912. Oil on canvas, 57 7/8 x 35 1/8 in. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950, 1950-134-59 © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/Succession Marcel Duchamp.
The Armory Show at 100: Modern Art and Revolution at The New-York Historical Society
Works by Duchamp, Matisse, Picasso, Cézanne, Gauguin, and Van Gogh will be on display in The Armory Show at 100: Modern Art and Revolution, which revisits the famous 1913 New York Armory Show on its 100th anniversary. In 1913, the International Exhibition of Modern Art came to New York. Organized by a small group of American artists and presented at the Lexington Avenue Armory (and thus nicknamed the Armory Show), it introduced the American public to European avant-garde painting and sculpture. This exhibition is an exploration of how the Armory Show inspired seismic shifts in American culture, politics, and society.
The New-York Historical Society's exhibition reassesses the Armory Show with a carefully chosen group of one hundred masterworks from the 1913 show. The exhibition includes American and European paintings and sculpture that will represent the scandalous avant-garde and the range of early twentieth-century American art. It will also include historical works (dating through the nineteenth century) that the original organizers gathered in an effort to show the progression of modern art leading up to the controversial abstract works that have become the Armory Show’s hallmark.
The 2013 exhibition revisits the Armory Show from an art-historical point of view, shedding new light on the artists represented and how New Yorkers responded. It will also place this now-legendary event within the context of its historical moment in the United States and the milieu of New York City in ca. 1911–1913. To that end, music, literature and early film will be considered, as well as the political and economic climate.
New-York Historical Society
170 Central Park West
New York, NY 10024
Mariko Mori, Transcircle 1.1 (detail), 2004. Stone, Corian, LED, Real-time control system; 132 3/8 inches diam.; each stone 433/8 × 221/4 × 131/2 inches. Courtesy of The Mori Art Museum, Tokyo. Photo by Richard Learoyd.
Rebirth: Recent Work by Mariko Mori at the Japan Society
An icon of 1990s Japanese pop art, the visionary artist Mariko Mori has always transformed herself effortlessly and faster than anyone else into the future. Japan Society Gallery presents her latest countenance in this major solo exhibition, Rebirth, as a significant artistic statement by Mori. The entire gallery space is transformed into Mori's world through 35 sculptures, drawings, photographs, sound and video works, strung together into a narrative of birth, death and rebirth--a continuous circle of life force that the artist observes on a cosmic scale. Journey through space, time and consciousness in this immersive installation.
333 East 47th Street
New York, NY 10017
Mike Kelley. Deodorized Central Mass with Satellites. 1991/1999. Plush toys sewn over wood and wire frames with styrofoam packing material, nylon rope, pulleys, steel hardware and hanging plates, fiberglass, car paint, and disinfectant. Overall dimensions variable. (c) Estate of Mike Kelley. Images courtesy of Perry Rubenstein Gallery, Los Angeles. Photography: Joshua White/JWPictures.com.
Mike Kelley at MoMA PS1
MoMA PS1 presents Mike Kelley, the largest exhibition of the artist’s work to-date and the first comprehensive survey since 1993. Regarded as one of the most influential artists of our time, Mike Kelley (1954–2012) produced a body of deeply innovative work mining American popular culture and both modernist and alternative traditions—which he set in relation to relentless self- and social examinations, both dark and delirious. Bringing together over 200 works, from early pieces made during the 1970s through 2012, the exhibition occupies the entire museum. This exhibition marks the largest exhibition MoMA PS1 has ever done and the first time the museum has devoted the entire building to a single artist.
22-25 Jackson Avenue
Long Island City, NY 11101
Still from Mike Kelley's Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene). 2000. Video (black and white, sound), 29:44 min. Courtesy of Mike Kelley Foundation for the Arts
Mike Kelley: Extracurricular Activity Projective Reconstruction #1 at the Museum of Modern Art
In conjunction with the retrospective exhibition on view at MoMA PS1, MoMA presents Mike Kelley’s Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene), a half-hour drama inspired by a photograph of a school play found in a high school yearbook.
Written and directed by Kelley in 2000, this one-act melodrama explores the psychologically fraught relationship between two men as it unfolds in a room centered around a gas stove. This video was the inaugural installment of Kelley’s monumental 36-part project, a series of performance works intended to fill in the blanks left by forgotten or repressed memories, with narratives of standardized abuse.
The Museum of Modern Art
11 West 53rd Street
New York, NY 10019
Paolo Roversi (Italian, b. 1947). Tanel Bedrossiantz, 1992. Digital print, 15 x 12 in. (38.3 x 30.8 cm). Jean Paul Gaultier’s “Barbès” women’s ready-to-wear fall-winter collection of 1984–85. © Paolo Roversi
The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the Brooklyn Museum
The Brooklyn Museum is the only East Coast venue for The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, the first international exhibition dedicated to the groundbreaking French couturier. Playful, poetic, and transformative, Gaultier’s superbly crafted and detailed garments are inspired by the beauty and diversity of global cultures.
This multimedia exhibition is organized around seven themes tracing the influences on Gaultier's development—from the streets of Paris to the cinema—since he emerged as a designer in the 1970s. It features approximately 140 haute couture and prêt-à-porter ensembles, from the designer’s earliest to his most recent collections, many of which are displayed on custom mannequins with interactive faces created by high-definition audiovisual projections.
200 Eastern Parkway
Brooklyn, NY 11238-6052
Apocalypse Now, 1988
Alkyd and flashe on aluminum, 213.4 x 182.9 cm
© Christopher Wool
Christopher Wool at the Solomon R. Guggenheim Museum
At the heart of Christopher Wool’s creative project, which spans three decades of highly focused practice, is the question of how a picture can be conceived, realized, and experienced today. Engaging the complexities of painting as a medium, as well as the anxious rhythms of the urban environment and a wide range of cultural references, his agile, largely monochrome works propose an open-ended series of responses to this central problem. This retrospective will fill the museum’s Frank Lloyd Wright–designed rotunda and an adjacent gallery with a rich selection of paintings, photographs, and works on paper, forming the most comprehensive examination to date of Wool’s career.
Solomon R. Guggenheim Museum
1071 Fifth Avenue
New York, NY 10128
Jeffrey Dell, Screenrush, 2013.
News/Prints: Printmaking & the Newspaper and New Prints 2013/ Autumn at the International Print Center New York
News/Prints: Printmaking & the Newspaper
A group exhibition of prints that highlight the longstanding relationship of printmaking and the printed newspaper. News/Prints includes prints from 16th Century German news books through to prints by contemporary artists who incorporate printed mass media into their work. Curated by Anders Bergstrom and Anne LaFond
New Prints 2013/ Autumn
The 46th presentation of IPCNY's New Prints Program, consists of 55 fine art prints made by 28 artists within the past 12 months - selected by Desirée Alvarez, Andrea Butler, Christopher Creyts, Amze Emmons, Kimball Higgs, and Tara Misenheimer.
International Print Center New York
508 West 26th Street, 5th Floor
New York, NY 10001
Jared Bark (b. 1944), LIGHTS: on/off, performance at The Clocktower, June 21, 1974. Photograph by Babette Mangolte; © 1974. All reproduction rights reserved
Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan, 1970–1980 at the Whitney Museum
This exhibition illuminates a radical period of 1970s performance art that flourished in downtown Manhattan, or what filmmaker and performance artist Jack Smith called “Rented Island,” and still remains largely unknown today. Working in lofts, storefronts, and alternative spaces, this group of artists, with backgrounds in theater, dance, music, and visual art, created complex new forms of performance to embody and address contemporary media, commercial culture, and high art.
Whitney Museum of American Art
945 Madison Avenue
New York, NY 10021
Mark Manders, Fox/Mouse/Belt, 1992
Collection the artist. Courtesy the artist and Tanya Bonakdar Gallery
Public Art Fund Talks: Mark Manders
Mark Manders' distinctive multi-disciplinary practice encompasses installation, sculpture, drawing and projected imagery. With carefully constructed assemblages of furniture, human and animal figures, newspapers, welded metal piping, light bulbs, and the ephemera of daily life, Manders’ enigmatic installations reflect an ongoing interest in creating a metaphorical self-portrait. To create his work, he fabricates each individual element in the studio, recreating everyday objects like newspapers, wood beams, or milled screws that, while familiar, are stripped of real-world references. As part of his working process, Manders “tests a work” by imagining it in a supermarket “to see if it can survive there, without being labeled as an artwork.” Manders’ talk will focus on his interest in public space and the dialogue between between life and art.
Wednesday, October 2, 6:30 pm
The New School, Tishman Auditorium
66 West 12th Street
New York, NY 10011
Adrien Tournachon (French, 1825–1903), Pierrot Running, 1854–55. Albumen silver print from glass negative, Image; 26.5 x 20.8 cm (10 7/16 x 8 3/16 in). The Metropolitan Museum of Art, New York, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005 (2005.100.43)
1913 The World Implodes: A Series of Talks and Performances at The Metropolitan Museum of Art
Europe was on the verge of committing suicide; Africa burst into Western consciousness; technology was on a dizzying trajectory; music was losing its grip on tonality, slipping loudly into entropy. Two monumental works were premiered within eight months of each other: Schoenberg's Pierrot Lunaire and Stravinsky's Rite of Spring.
To put this striking period into context—and perhaps find parallels with our own time—Met Museum Presents offers a series of conversations and concerts.
Four evenings hosted by the New Yorker's Critic at large Adam Gopnik with special guests.
Why Europe Committed Suicide
Adam Gopnik, critic at large, the New Yorker.
Wednesday, October 2, 6:00 pm
Why New Art Mattered
Sebastian Smee, Pulitzer Prize-winning art critic, Boston Globe.
How Proust Changed Our Minds
Alain de Botton, writer.
Africa and the West
Kwame Anthony Appiah, Laurance S. Rockefeller University Professor of Philosophy and
the University center for Human Values, Princeton University.
The Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028
Image courtesy of the artist.
ICP Lecture Series: Sophie Calle
Sophie Calle is a French photographer, writer, and installation artist. By weaving together images with narrative, Calle lends a perspective that is equal parts observer of others and observer of self. Brimming with psychological motifs, Calle’s work pays particular attention to ideas around absence, intimacy, and vulnerability, while nimbly juxtaposing concepts of private and public, subject and object.
Calle's prolific career as a conceptual artist includes extensive international exhibitions, work in numerous museum collections, and representation by Paula Cooper and Barbara Krakow galleries, as well as Galerie Perrotin of Paris. Calle lives and works in Malakoff, France.
School at ICP, Shooting Studio,
International Center of Photography
1114 Avenue of the Americas
New York, NY 10036
The Creative Time Summit 2013: Art, Place, and Dislocation in the 21st-Century City
The 2013 Creative Time Summit sets its sights on the fact that culture, for good or bad, is an active ingredient in the construction and shaping of the contemporary city. Tapping into widespread debate on this issue, this year’s Summit provides a global platform for consideration of the trials, tribulations, artistic practices, campaigns, theories, and practicalities that accompany this phenomenon. As the active role of culture in the city gains traction not only with artists but also with architects, city planners, philanthropists, and developers—from eye-popping monumental sculpture, to arts districts, to battles over eviction and squatting—this year’s Summit provides a timely opportunity to debate and consider a variety of artistic approaches to this contemporary condition.
Every year at the Creative Time Summit, the most innovative artists, activists, critics, writers, and curators come together in New York to engage with one another and a global audience about how they are attempting to change our world in unprecedented ways.
Creative Time Summit
NYU Skirball Center
566 LaGuardia Place
New York, NY 1001
A Benefit for Triple Canopy Honoring Brian O'Doherty
Triple Canopy is pleased to announce artist and writer Brian O’Doherty as honoree for Triple Canopy’s fall benefit, which will take place . Please join the editors of Triple Canopy, Board of Directors, and Publishers Circle members for a seated dinner, cocktails, and a performance in honor of O’Doherty’s extraordinary life and work.
98 Mott Street
New York, NY 10013