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Telle mère tel fils’ (Like Mother Like Son) Adel Abdessemed

Three airplanes braided together into a tangled knot make up this sculpture made from original cockpits, metal and fuselages made from air-filled felt.

From Adel Abdessemed Je suis innocent (I am innocent), a solo exibition at the Centre Pompidou, Paris.

Photographs found here.

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[artruby]

Tom Friedman. 

[heatherhuse-blog]

Mickalene Thomas and the Seduction of Beauty- Jillian Steinhauer

"Mickalene Thomas’s current exhibition at the Brooklyn Museum is a visual marvel. Bright colors, shimmering rhinestones, chaotic patterns, and bold-faced women abound. And not separately, mind you — Thomas has a proclivity for mashing them all up into exquisitely rendered wholes that take the cut-and-paste aesthetic to a nearly explosive endpoint. If there’s one thing her work doesn’t lack, it’s energy."

Read Full Article HERE

[heatherhuse-blog]

ANN HAMILTON "The Event of the Thread"

[heatherhuse-blog]

ANN HAMILTON AT THE PARK AVENUE ARMORY

Visual artist Ann Hamilton combines the ephemeral presence of time with the material tactility for which she is best known to create a new large-scale installation for the Wade Thompson Drill Hall. Commissioned by the Armory, the event of a thread references the building’s architecture, as well as the individual encounters and congregational gatherings that have animated its rich social history. A multisensory affair, the work draws together readings, sound, and live events within a field of swings that together invite visitors to connect to the action of each other and the work itself, illuminating the experience of the singular and collective body, the relationship between the animal and the human. The address of the readers to the pigeons shifts at the end of each day, when a vocalist on the drill hall’s balcony serenades their release to flight. Each day’s song is cut with a record lathe, and the resulting recording is played back the next day.

[heatherhuse-blog]

LIZ MAGIC LASER

Art21′s New York Close Up documentary series just released a short film about New York artist Liz Magic Laser developing her 2012 piece The Digital Face, which involves two actors performing hand gestures from State of the Union addresses given by George H. W. Bush in 1990 and Barack Obama in 2012. The work was performed at Derek Eller Gallery and MoMA PS1.

Liz Magic Laser will be serving as 2013 Armory Show commissioned artist, and will present new work—and a variety of other accoutrements—at the fair, which is scheduled to take place on Piers 92 and 94 in New York from March 7 to 10

[heatherhuse-blog]

Think outside the box, collapse the box, and take a fucking sharp knife to it.

Banksy

[hyperallergic]

The Art Market Was Worth $64 Billion in 2012

[massmoca]

It took half a million cigarettes to make Xu Bing’s “1st Class.” Check it out in the mezzanine of our Building 5 gallery.

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"Faces of Costanza" dress

I just need to hem the bottom and fix a few things but I can’t believe how we’ll it fits!!!! Plus I still have 3/4 of a yard left!!! I need to make a clutch and bow to match!

[heatherhuse-blog]

IT IS MY BODY, a solo exhibition by performance and conceptual artist Marta Jovanovic at LOCATION ONE December 15, 2012 - January 31, 2013

[heatherhuse-blog]

Serry Park XO Pale White

"I cannot open the window, nor watch the clock in my room. The only thing I can do now is to see the daylight from the windows, touch [the] fabric and fall asleep. I and the room, we both could take a rest. Only light and time flow in this room without any will. Then I feel like I finally give a complete denial of what is considered significantly."- Serry Park

She covered her entire room in fabric, removing the functions of the objects that surround her. The private space is turned into an ideal, leaving behind an impression of the prior functional aspects. The images are presented in a dream-like state, far from the messy and clutter we steep ourselves in.

LEARN MORE ABOUT MFA PRATT INSTITUTE ARTIST HERE

[heatherhuse-blog]

“They need time”: The Marina Abramovic interview

Last spring, artist Marina Abramović unveiled plans for The Marina Abramović Institute for the Preservation of Performance Art, in Hudson, New York. In the following interview, Abramović details the subtleties of her institutional vision.

Grant Johnson: The Institute for the Preservation of Performance Art promises to provide a fixed, material location for relatively immaterial forms. What is at stake in this dynamic? What is gained or what is lost through the ‘institutionalization’ of performance?

Marina Abramović: You know, we, as human beings, are very nostalgic in a way in general, and we always think that things are better when they have already happened. We are nostalgic about past times and somehow think that it is not good if we change something because it was better how it was before. I really think that nostalgia is kind of overrated, and I think that we have to think about presence, and what we can do now and how we can use that strategy to do something better. 

Performance was first, definitely, an alternative art form. It happened in different spaces, mostly in private—you know, different garages and alternative spaces and streets, and so on and so on—but these times are over. I think that performance has come into a new light and become very much an accepted form of art in the last few years. So I think that accepted form of art needs some kind of institute that can be seen as the platform where this can develop.

I am making something that is very private in many ways, because I think that in my experience—40 years performing—I understood that a long-duration form of performance art is the most rewarding, most changing, more than any other experience of art, both for the public looking at it, but also for the performer doing it. This is why I am making the Institute. It is very specific. It is not an Institute for any other performance art but long-durational art. So this is why it is so different, that is why I cannot really categorize if it is good for performance art generally or not. It is only for long-durational dance, theater, music, video, film, performance— and I am also including new forms of long-durational art that have not even been made yet.

So my limit, the starting point of the Institute, is the idea of six hours, that you have to spend six hours and you have to write a contract with me that you will give me your time. Otherwise, if you don’t give me your time, you cannot have the experience. So, it’s a very particular viewing of performance in this context.

READ FULL INTERVIEW HERE

[heatherhuse-blog]

Art to me is a humanitarian act and I believe that there is a responsibility that art should somehow be able to effect mankind, to make the world a better place.

Jeff Koons

[contemporaryartdaily]

Diana Thater at 1301PE

[heatherhuse-blog]

PITCHFORK LAUNCHES NOTHING MAJOR: a new website navigating the online world of design, style, art and craft

Nothing Major will help fellow enthusiasts navigate the online world of design, style, art and craft by featuring our own daily finds in a journal and through feature stories, and by hosting a selection of carefully curated and often exclusive items in an online shop. And unlike most publications that focus on the seasonal cycles of the fashion industry and promote style through hyping unattainable and absurdly expensive clothing and goods, Nothing Major will keep its feet firmly planted in the real world.

Nothing Major will publish observations on style, fine art, photography, textiles, technology, architecture, graphic design, interiors, video, furniture, and accessories, as well as pieces with an historical perspective on design and creativity.

[heatherhuse-blog]

Vacant Long Island City Bank Taken Over by Site-Specific Art

How Much Do I Owe You?

December 12th- March 13th, 2013

As the title implies, “How Much Do I Owe You?” is a personal and conversational exploration into the new iterations of currency, value and exchange at this time of financial flux, growing debt and job insecurity.

From the virtualization of money to the rise of non-monetary barter networks, recent years have seen a re-thinking of forms and systems of exchange, and thus notions of value, commodity, and debt that surround them.

Inspired by the Bank building and the surrounding neighborhood, 26 artists from 15 countries confront these issues and how they are negotiated in the workforce, housing market, and in the every day. Curated by Chief Curator, Manon Slome, the public will experience a variety of media, from sound installations, projections, and film to participatory projects, immersive installations and large scale sculptures. 

Read More

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