Archive for August 21st, 2006

ArtReview: September Issue

Monday, August 21st, 2006

ART A LA MODE

Armani at the Guggenheim, Louis Vuitton Art Talks, Cartier Foundation, the artful extravagant of Hussein Chalayan and Viktor & Rolf and artist-designed sneakers galore. In its annual Fashion Survey, published this September, ArtReview investigates the melding of two creative cultures.

FASHION LOVES ART
Christie’s Philippe Garner takes a look at the current stock of fashion photographers and makes an educated guess on who will be the mainstays of tomorrow. “Think of Steven Meisel’s stream of witty, wildly inventive and provocative stories for Italian Vogue, Steven Klein’s tableaux starring Madonna or Tom Ford, and Juergen Teller’s self-indulgent self-portraits with Charlotte Rampling and Cindy Sherman for a Marc Jacobs ad campaign and you will quickly realise that fashion has become the highly visible and commercially effective site for picture-making every bit as challenging as that being pursued by so many photographers who define themselves as independent artists.

Miuccia Prada talks about the influence of contemporary art on contemporary fashion. “Maybe art is not enough. Maybe it’s not the place anymore for radicalism. My view is that right now we need thinkers, people who can analyse the current world.

J.J. Charlesworth argues that fashion and contemporary art are just having a fling. “The misunderstanding is that ‘making art’ is something you can only do in the ‘art world’. But when you look closely at fashion/art crossovers, you realise that what they really do is perpetuate a dismal lie about the place of creativity in mass culture.

SEX & POLITICS
In September, ArtReview also turns the clock five years back with Joel Meyerowitz’s haunting images from Ground Zero.

Mariko Mori: Young, winsome, exotic, sometimes highly sexualised and cute enough to have had a limited-edition doll made in her image (by Parkett). She looks like a lot of fun. And her art looks like a lot of fun too. It’s bright, shiny, colourful, beautifully made, often using gorgeous state-of-the-art materials. It begs you to look and to touch.

The Tate Modern does art porn with its Destricted exhibition featuring provocative films by high-profile artists Matthew Barney, Larry Clark, Richard Prince, Sam Taylor-Wood, Marina Abramovic, Marco Brambilla and Gaspar Noé.

British artist Anish Kapoor’s Sky Mirror at Rockefeller Plaza.

Trenton Doyle Hancock’s creative onanism.

Hans Bellmer’s creepy doll fetish.

Cerith Wyn Evans: “I’m increasingly interested in some kind of notion of pornography and exposure.”

The long, long overdue DVD release of Vilgot Sjöman’s I am Curious Yellow, the ultimate 1960s fusion of sex and radical politics.

AND…

ArtReview’s first monthly manifesto conceived and realised by our first artist-in-residence, LA artist Joel Biel.

To subscribe to ArtReview go to http://www.artreview.com

Whitney Museum of American Art - Robert Morris

Monday, August 21st, 2006



Robert Morris b. 1931, Still from “Gas Station”, 1969. 16 mm film, double-screen projection, color, silent; 34 min.
Whitney Museum of American Art, New York.
Partial gift of the artist and purchase, with funds from the Film and Video Committee 2003.92


Whitney Museum special screening: Walter De Maria and Robert Morris
Thursday, August 3, 7pm

This summer, on the occasion of the Whitney’s seventy-fifth anniversary, the entire Museum will be dedicated to Full House: Views of The Whitney’s Collection at 75, a presentation drawn from permanent holdings. Organized around transformative moments, or “flashpoints,” in American art, the exhibition proposes a series of dynamic dialogues between works of art across all media, spanning the twentieth century to today. Full House is on view from June 29 through September 3.

Complementing the Full House exhibition, assistant curator Henriette Huldisch presents two projected works from the Whitney’s film and video holdings that explore the visual vocabulary of the American West. The evening begins with a recently restored print of Walter De Maria’s Hardcore (1969), a film drawing on elements from the Hollywood Western while capturing the changing light of the Mojave Desert. Robert Morris’s double projection Gas Station (1969) observes the titular Southern California location in fixed and moving shots, exploring the distinction between a lived experience of space and the “perspective” of the camera.

Discounted admission for members, senior citizens, and students with valid ID.
Advance sales are strongly recommended, as space is limited.
Tickets may be purchased online at http://www.whitney.org or at the Museum Admissions Desk; inquiries at (212) 570-7715 or public_programs@whitney.org.

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
1 (800) WHITNEY
http://www.whitney.org

Subway: 6 to 77th Street (walk two blocks west to Madison Avenue)
Bus: M1, M2, M3, M4 to 74th Street