Saturday, January 18, 2014

January Newsletter

The Armory Show | Piers 92 & 94
January Newsletter


Happy New Year Wishes from The Armory Show
The Armory Show Team wishes you a Happy New Year!
For information regarding exciting on-site developments, assistance planning your visit, and all further inquiries, please
Please note our new mailing address:
The Armory Show
One Penn Plaza, Suite 1710
New York, NY 10119
We look forward to greeting you in March and anticipate the strongest edition of the fair to date.
Warm regards,
The Armory Show 
March 6-9, 2014
Piers 92 & 94
Twelfth Avenue at 55th Street
New York City


Image: Isamu Noguchi, Peking Drawing (Man sitting), 1930 and Qi Baishi, Crabs, c. 1930
Isamu Noguchi and Qi Baishi: Beijing 1930 at The Noguchi Museum
While en route to Japan for his first time since childhood, Isamu Noguchi paid an unexpected visit to Beijing (then called Peking) from July 1930 to January 1931. A fateful encounter with a Japanese businessman and art collector, Sotokichi Katsuizumi (1889-1985), exposed the young artist to Katsuizumi's small collection of scrolls by the poet, seal carver, and traditional ink painting master Qi Biashi (1864-1957). Noguchi was entranced by what he saw, and asked to be introduced to Qi Baishi whom he observed and studied with.
Organized by the University of Michigan Museum of Art in a collaboration between The Noguchi Museum, Isamu Noguchi and Qi Baish: Beijing 1930 explores this pivotal but lesser-documented moment of Noguchi's career, which resulted in some 100 ink scroll paintings. This exhibition marks the first pairing of Noguchi's scrolls with those by Qi Baishi, which have been selected from the same period, alongside the seal that Qi made for his young pupil. Prior to meeting Qi Baishi, Noguchi's sculptural work effectively jumped between figuration and abstraction. This exhibition suggests the lasting significance of his study of traditional ink brush technique with Qi Baishi was less a point of departure than a stimulus for his reconciliation of the two in his later outlook on sculpture.
Closing January 26, 2014
The Noguchi Museum
9-01 33rd Road
Long Island City, NY 11106

Image Courtesy of The Metropolitan Museum of Art
Ink Art: Past as Present in Contemporary China at The Metropolitan Museum of Art
The first major exhibition of Chinese contemporary art ever mounted by the Metropolitan, Ink Art explores how contemporary works from a non-Western culture may be displayed in an encyclopedic art museum. Presented in the Museum's permanent galleries for Chinese art, the exhibition features artworks that may best be understood as part of the continuum of China's traditional culture. These works may also be appreciated from the perspective of global art, but by examining them through the lens of Chinese historical artistic paradigms, layers of meaning and cultural significance that might otherwise go unnoticed are revealed. Ultimately, both points of view contribute to a more enriched understanding of these artists' creative processes.
Featuring some seventy works by thirty-five artists in various media—paintings, calligraphy, photographs, woodblock prints, video, and sculpture—created during the past three decades, the exhibition is organized thematically into four parts: The Written Word, New Landscapes, Abstraction, and Beyond the Brush. Although all of the artists have challenged, subverted, or otherwise transformed their sources through new modes of expression, Ink Art seeks to demonstrate that China's ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path.
Closing April 6, 2014
The Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028

Jindrich Polák, Ikarie XB-1 [Voyage to the End of the Universe], 1963 (still). Courtesy the National Film Archive, Prague
“Report on the Construction of a Spaceship Module" at the New Museum
For their presentation “Report on the Construction of a Spaceship Module,” tranzit will transform the Fifth Floor gallery of the New Museum into the simulated interior of a spaceship.
The vessel is inspired by the spacecraft in the iconic Czech science-fiction film Ikarie XB-1 (1963), which melded postwar utopianism with Soviet utilitarianism. In its structure and design, it recalls future fantasies from the socialist Eastern European side of the Iron Curtain and explores the ideological role that outer space played during this time. On view in and around the spacecraft will be 117 artworks, including video, sculpture, print, and installation, by artists hailing primarily from cities around Eastern Europe, notably Vienna, Prague, Budapest, Bucharest, and Bratislava, all of whom tranzit has worked with previously.
“Report on the Construction of a Spaceship Module” offers an allegory of “anthropological science fiction,” where the exhibition space becomes an estranged and exciting universe that dramatizes the cross-cultural translation involved in the presentation of art. The unique model evokes the challenges that contemporary artists experience in exhibiting works, or that curators come across in organizing exhibitions that stitch together diverse artworks, selected across generation, cultural context, personal narratives, and time.
January 22 – April 13, 2014
The New Museum
235 Bowery
New York, NY 1002

Carrie Mae Weems, Untitled (Man and Mirror) from Kitchen Table Series, 1990. Gelatin silver print, 27 ¼ x 27 ¼ in. Collection of Eric and Liz Lefkofsky, 115-128.2010, promised gift to The Art Institute of Chicago © Carrie Mae Weems. Photography © The Art Institute of Chicago
Carrie Mae Weems: Three Decades of Photography and Video at the Solomon R. Guggenheim Museum
Carrie Mae Weems is a socially motivated artist whose works invite contemplation of race, gender, and class. Increasingly, she has broadened her view to include global struggles for equality and justice. Comprehensive in scope, this retrospective primarily features photographs, including the groundbreaking Kitchen Table Series (1990), but also presents written texts, audio recordings, and videos. The exhibition traces the evolution of Weems’s career over the last 30 years, from her early documentary and autobiographical photographic series to the more conceptual and philosophically complex works that have placed her at the forefront of contemporary art. Although Weems employs a variety of means to address an array of issues, all of her work displays an overarching commitment to better understanding the present by closely examining history and identity. It also contains a desire for universality: while African Americans are typically her primary subjects, Weems wants “people of color to stand for the human multitudes” and for her art to resonate with all audiences.
January 24 – May 14, 2014
Solomon R. Guggenheim Museum
1071 Fifth Avenue
New York, NY 10128

Antoine de Saint-Exupéry, The Little Prince.
New York: Reynal & Hitchcock, 1943
The Morgan Library & Museum, New York
Photography by Graham S. Haber, 2013
The Little Prince: A New York Story at The Morgan Library & Museum
Since its publication seventy years ago, Antoine de Saint-Exupéry's The Little Prince has captivated millions of readers throughout the world. It may come as a surprise that this French tale of an interstellar traveler who comes to Earth in search of friendship and understanding was written and first published in New York City, during the two years the author spent here at the height of the Second World War.
Focusing on the story's American origins, this exhibition features twenty-five of the manuscript pages—replete with crossed-out words, cigarette burns, and coffee stains—and all forty-three of the earliest versions of drawings for the book. Also on view are rare printed editions from the Morgan's collection as well as personal letters, photographs, and artifacts.
The Little Prince: A New York Story is the first exhibition to explore in depth the creative decisions Saint-Exupéry made as he crafted his beloved story that reminds us that what matters most can only be seen with the heart.
January 24 – April 27, 2014
The Morgan Library & Museum
225 Madison Avenue
New York, NY 10016

Sarah Michelson (b. 1964), Devotion Study #1—The American Dancer, February 2012, at Whitney Biennial 2012. Photograph © Paula Court
Sarah Michelson: 4 at the Whitney Museum of American Art
Choreographer Sarah Michelson premieres a new work on the Museum’s fourth floor, where she previously presented Devotion Study #1—The American Dancer, her Bucksbaum Award–winning piece from the 2012 Whitney Biennial. For this piece, the culmination of her Devotion series, Michelson continues to explore the dialogue between the form and history of dance through intense physicality, rigorous formal structures, and precise staging. The new work, 4, will be presented in an eight-performance engagement.
This exhibition is organized by Jay Sanders, Curator and Curator of Performance.
January 24 – February 2, 2014
Whitney Museum of American Art
945 Madison Avenue
New York, NY 10021

Image: Ferran Adrià, Plating Diagram. Ink on paper, 11x17 inches, Courtesy of elBullifoundation.
Ferran Adrià: Notes on Creativity + Deborah Grant: Christ You Know it Ain't Easy!! at The Drawing Center
In the Main Gallery and The Lab, Ferran Adrià: Notes on Creativity is the first major museum exhibition to focus on the visualization and drawing practices of master chef Ferran Adrià. Notes on Creativity will emphasize the role of drawing in Adrià’s quest to understand creativity. His complex body of work positions the medium as both a philosophical tool—used to organize and convey knowledge, meaning, and signification-—as well as a physical object—used to synthesize over twenty years of innovation in the kitchen.
Presented in the Drawing Room, Deborah Grant: Christ You Know it Ain't Easy!! is an installation that will combine painting, drawing, and collage to recount the fictional meeting between African-American folk artist Mary A. Bell and renowned modernist painter Henri Matisse. For Christ You Know it Ain't Easy!!, which takes its title from the Lennon/McCartney song “The Ballad of John and Yoko,” Grant spent over two years researching primary documents including Mary Bell’s drawing and letters.
January 25 – February 28, 2014
The Drawing Center
35 Wooster Street
New York, NY, 10013

Matthew Brandt, Grays Lake, ID 7, 2013. © Matthew Brandt, courtesy Yossi Milo Gallery, New York.
What Is a Photograph? at the International Center of Photography
Organized by ICP Curator Carol Squiers, What Is a Photograph? will explore the intense creative experimentation in photography that has occurred since the 1970s. Conceptual art introduced photography into contemporary art making, using the medium in ways that challenged it artistically, intellectually, and technically and broadened the notion of what a photograph could be in art. A new generation of artists began an equally rigorous but more aesthetically adventurous analysis, which probed photography itself—from the role of light, color, composition, to materiality and the subject. What Is a Photograph? brings together these artists, who reinvented photography.
January 31– May 4, 2014
International Center of Photography
1133 Avenue of the Americas
New York, NY 10036


Theaster Gates, Performance of See, Sit, Sup, Sing: Holding Court, 2012. Contemporary Arts Museum Houston, December 1, 2012. Photo: Max Fields.
Performance: Theaster Gates: See, Sit, Sup, Sip, Sing: Holding Court at The Studio Museum in Harlem
Theaster Gates’s See, Sit, Sup, Sip, Sing: Holding Court (2012) was created from tables, chairs and desks salvaged from a now-closed public school on Chicago’s South Side. Gates joins us in the Museum atrium for a special activation of the work by the artist. Designed as an experience for learning created by the people assembled in and around it, the installation will be a site for engaged conversation and dynamic interaction.
Thursday, January 16, 6:00 pm – 7:00 pm
Holding Court is sold out. But you can follow the discussion on@studiomuseum’s social media and contribute to the conversation using #holdingcourt
The Studio Museum in Harlem
144 West 125th Street
New York, NY 10027

Jared Bark (b. 1944), LIGHTS: on/off, performance at The Clocktower, June 21, 1974. Photograph by Babette Mangolte; © 1974. All reproduction rights reserved
Currently on display at the Whitney Museum of American Art through February 2, RITUALS OF RENTED ISLAND: OBJECT THEATER, LOFT PERFORMANCE, AND THE NEW PSYCHODRAMA - MANHATTAN 1970-1980 is an absorbing exhibition focused on a number of prime performance artists who populated Lower Manhattan in the 1970s. Their shows were staged in lofts, storefronts, artist spaces, music clubs, and venues like The Kitchen and Anthology in our early SoHo days. This linked screening series includes videos, films, and documentation from artists of the era and features many pieces not on view in the exhibit.
In addition to the artists and works in these 13 shows, selections of recently preserved short films by performance artist Stuart Sherman will be screened at the beginning of various programs.
Thursday, January 16, 7:30 pm
Friday, January 17, 7:30 pm
Friday, January 17, 9:30 pm
Saturday, January 18, 3:30 pm
Saturday, January 18, 6:30 pm
Saturday, January 18, 8:45 pm
Sunday, January 19, 4:00 pm
Sunday, January 19, 6:00 pm
Sunday, January 19, 8:45 pm
Monday, January 20, 7:15 pm
Monday, January 20, 9:15 pm
Tuesday, January 21, 7:00 pm
Tuesday, January 21, 9:00 pm
Anthology Film Archives
32 Second Avenue
New York, NY 10003

The New-York Historical Society, 77th Street Entrance. Credit: New-York Historical Society /Jon Wallen
Lecture: The Village: 400 Years of Beats and Bohemians, Radicals and Rogues at The New-York Historical Society
From Thomas Paine to Walt Whitman to Allen Ginsberg, Greenwich Village has attracted many of the passionate radicals and misfits who have helped shape our culture for more than four centuries. Author John Strausbaugh explores the colorful, rowdy, and at times tragic story of this enduring bohemian enclave.

John Strausbaugh is the author of The Village: 400 Years of Beats and Bohemians, Radicals and Rogues and a former writer and editor for New York Press. He wrote and hosted The New York Times's “Weekend Explorer” series of articles and videos on New York City history.
Tuesday, January 21, 6:30 pm
The New-York Historical Society
170 Central Park West
New York, NY 10024

Zanele Muholi. Sunday Francis Mdlankomo, Vosloorus, Johannesburg, 2011. Silver gelatin print, Image: 301⁄8 x 197⁄8 in. (76.5 x 50.5 cm). Brooklyn Museum, Robert A. Levinson Fund, 2012.72.1. © Zanele Muholi
Scholar Talk: "Three Aspects of South African Feminism" at the Brooklyn Museum
Feminist practice and scholarship have been a solid presence in South African contemporary art over the past thirty years. Pamela Allara, Associate Professor Emerita at Brandeis University, discusses three artists—Penny Siopis, Berni Searle, and Zanele Muholi—each born about a decade apart and whose work represents the wide range of feminist issues within South Africa.
Sunday, January 26, 2:00 pm
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238-6052

The International Biennial of Contemporary Art of Cartagena de Indias
The First International Contemporary Art Biennial, Cartagena de Indias, Colombia's opening weekend for Friends will take place February 7th through the 9th. Artists from 45 countries will be represented and it will include 50 works created for the Biennial. Berta Sichel is the Artistic Director. A section on Colombian art will feature the most up and coming as well as cutting edge artists in the country. A gala to benefit the Museum of Modern Art in Cartagena as well as art scholarship for Cartagena students will take place on Saturday February 8th. For more information contact
February 7– April 7, 2014
Cartagena de Indias, Colombia

No comments:

Post a Comment