Tag Archives: artist

Test of Express Curate-Mai-Thu Perret at Nasher Sculpture Center (Contemporary Art Daily)

What places of employment will she build.

Nasher Sculpture Center announces the first Sightings exhibition of 2016: Sightings: Mai-Thu Perret, on view from March 12 – July 17, 2016, featuring sculptural works and paintings, as well as two performances that will be part of the Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival.

Swiss-born Mai-Thu Perret has spent the last 16 years making work based on a fictional feminist art commune she created called The Crystal Frontier. The imaginary women of New Ponderosa live in autonomy in the New Mexican desert and make work that runs the visual gamut, from the painterly to the sculptural, often employing the aesthetic tropes of Modernism and aligning the work with utopian Modernist movements. For Sightings, Perret will build on this project, installing recent ceramics and paintings, along with a new body of work that relates her interest in utopian societies to the recent development of the secular Kurdish community in the Syrian region of Rojava—a place that has been described as a utopia for its championing of women as leaders and practice of democracy among its inhabitants in the middle of war-torn territory. In collaboration with the SOLUNA International Music and Arts Festival, Perret will also present a recent performance entitled Figures at the Nasher Sculpture Center on June 2 and a newly commissioned world-premiere performance on June 4.

“We are excited to bring Mai-Thu Perret’s multifaceted work to the Nasher Sculpture Center,” notes Nasher Director Jeremy Strick. “While Perret’s practice encompasses a range of mediums and modes, it is united by a keen and questioning intelligence and produces works that are nuanced, enigmatic, and arresting. The new body of work she is producing for Sightings has special importance and could not be more timely in its inspiration, while the performances she presents as part of SOLUNA will offer new experiences to our visitors that are at once provocative, compelling, and illuminating.”

Building on the objects and texts born from the women of New Ponderosa, for Sightings, Perret will make several life-size figures in a variety of media—papier- mâché, ceramic, latex—and outfit them in uniforms and gear appropriate for soldiers. Perret’s figures represent the women fighting in all-female militia groups known as the Y.P.J. or Female Protection Units, a branch of the Kurdish People’s Protection Units who represent the first line of defense against ISIS in the region of Rojava in northern Syria. Unlike the women of New Ponderosa, the women fighting in the Y.P.J. are real and echo the utopian feminist ideals Perret imagined. The hopes to honor their actions as well as bring attention to their efforts to build a society based on freedom and equality.

Perret frequently collaborates with musicians, dancers, and singers to create performances that are referenced in The Crystal Frontier. Most recently, she staged the performance entitled Figures for the 2014 Biennale of Moving Images in Geneva, which she will restage at the Nasher as part of the SOLUNA International Music and Arts Festival on June 2. Featuring a life-sized marionette whose body is animated by a dancer—Anja Schmidt—with vocals and music provided by a singer and musician—Tamara Barnett-Herrin and Beatrice Dillon, respectively—the performance cycles through an elaborate narrative that involves an Indian mystic, a 19th-century American Shaker, a 1950s computer programmer, an artificial intelligence, and a journalist. The staging of the piece recalls the Japanese style of puppetry known as bunraku, in which the manipulators appear on stage alongside the puppets, providing a parallel performance of real and artificial bodies in motion. In Figures, Perret ties together the seemingly disparate identities of women throughout history through the different characters that both dancer and puppet embody during the course of the performance.



Morning Links: $3 Billion Art Feud Edition | ARTnews

“Guy Ullens, collector and founder of Beijing’s Ullens Center for Contemporary Art, has announced that he is looking to hand over ownership of the UCCA to someone who can continue to support and develop the institution in the years to come.” [Artforum]

A $3 billion family art feud concerning the collection of a Greek shipping mogul and his wife. “When Balthus’s biographer, Nicholas Fox Weber, visited the couple in Switzerland, he said the paintings rimming their walls ‘made my knees go wobbly.’” [Wall Street Journal]



Artist Pension Trust Makes Its First Financial Distributions to Artists in New York and Los Angeles | ARTnews

When the fish are biting are the flies flying

APT employs around 100 curators to judge applications and decide which artists may join the trust. (Interested artists can apply here.) Notably, APT also attempts to boost the value of its artists by loaning their work out to major international museums such as the Tate Modern, the Museum of Modern Art, and KunstHalle by Deutsche Bank.

In addition to New York and Los Angeles, APT has also set up artist pools in London, Berlin, and Beijing, as well as four other unnamed cities. The company currently owns 14,000 works of art and as a result is considered one of the largest privately-owned collections of contemporary art in the world, the value of which is estimated to be approximately $100 million.

APT, which was founded in 2004, bills itself as “the only service providing long-term financial security to artists.” Its business model requires chosen artists—including Mark Bradford, Nina Beier, Daniel Arsham, and Rob Pruitt, among 2,000 other artists from 75 countries—to give artwork, which is then held in APT’s collection for around 10 years “to generate optimum returns.” When the artwork is sold, the artists receive 40 percent of the sale. A remaining 32 percent goes into a fund benefiting all participating artists, of which each artists receives an annual portion, and the remaining money is put aside for investors and the trust itself. In the pilot sale, $452,085 of work by New York artists was sold, meaning that the artists collectively received $69,529. A total of $234,807 of work by artists from Los Angeles was sold, and that group collectively received $75,138. Sales are not held on a regular basis; according to a 2014 article in the New York Observer, “a committee decides the timing of the sales, which are done privately.”

The Artist Pension Trust, a collection of contemporary art that doubles as a mutual fund, has announced that it has made its first dividends to more than 400 artists participating in its New York and Los Angeles trusts “after a successful sales pilot,” according to a press release. The artists have received payments between $200 to $1,700.



Alert!!!! MoMA Plans Louise Lawler Retrospective for 2017 | ARTnews

The Museum of Modern Art announced today that next spring it will present “Why Pictures Now,” the first major New York survey of work by the American .

The exhibition—organized by MoMA senior curator Roxana Marcoci with curatorial assistant Kelly Sidley—will move through 40 years of work from the influential Pictures Generation-era artist and take place primarily on the museum’s sixth floor, with an additional sound work to be installed in its sculpture garden. The show is named after one of Lawler’s most famous works, a 1982 black-and-white photograph that depicts a matchbook inside an ashtray and alludes to film and advertising aesthetics.

Lawler is perhaps best known for her photographs showing other artists’ works as displayed in collectors homes, museums, and auction houses. The pieces combine photography and institutional critique to ask fundamental questions about the nature of contemporary art. “Why Pictures Now” will run from April 30 to July 30, 2017.



9 Art Events To Attend In New York City This Week | ARTnews

Great Source if you are in the city.


Screening: Beth B and Scott B’s The Trap Door and Shorts at Metrograph Who better to play a deranged therapist than the experimental filmmaker Jack Smith? He finally got to act that part in Beth B and Scott B’s 1980 film The Trap Door, in which a man (John Ahearn) is fired by his boss (Jenny Holzer) and then has a series of strange adventures. Richard Prince, Gary Indiana, and Bill Rice all make appearances at some point, playing characters who are determined to ruin this poor man’s life. In that sense, the film is like many others by Beth B and Scott B, who focused on violence and power systems in their films. Three other short films—all “quintessential, assaultive,” per a summary—will screen with The Trap Door at this showing.Metrograph, 7 Ludlow Street, 8:30 p.m. Tickets $15

Book Launch: René Ricard’s Notebook 2010–2012 at Mast Books Like any other critic or , René Ricard was a fantastic doodler. His notebooks are filled with scribbled ideas and half-sentences, many of which are barely even legible, but are still a fascinating insight into his process no less. Now Mörel Books has published a volume that collects his notebook written toward the end of Ricard’s life, from 2010 to 2012. (He died in 2014.) To celebrate the release of the book, Glenn O’Brien and Luc Sante will be doing readings at Mast Books.Mast Books, 66 Avenue A, 6–8 p.m.

Opening: “Danny Lyon: Message to the Future” at the Originally curated by the Fine Arts Museums of San Francisco, this Danny Lyon retrospective—the first in 25 years—will debut at the Whitney Museum before opening in San Francisco. Comprised of 175 photographs, films, and related objects, this show dives deeply into the social and political focuses of one of the leading American street photographers in the 1960s. As a press release states, “With his ability to find beauty in the starkest reality, Lyon has through his work provided a charged alternative to the bland vision of American life often depicted in the mass media.”Whitney Museum, 99 Gansevoort Street, 10:30 a.m.–10 p.m.

Opening: “Vito Acconci: Where Are We Now (Who Are We Anyway?), 1976” at MoMA PS1 This show is named for Where Are We Now (Who Are We Anyway?), a sculpture in which a long wood plank extends through a window, acting a diving board from which viewers can jump into traffic. Arranged around its sides are a set of stools—do you sit, jump, or stand there? How do you act? Acconci’s work is concerned with how bodies move through space, and this show surveys his early experiments with that subject. Featuring films, photographs, and other documentary materials, the show looks performances Acconci did during the late ’60s and ’70s—notable among them Seedbed (1972), in which the artist lay under the floor of Sonnabend Gallery and masturbated while fantasizing about gallery visitors. —Alex GreenbergerMoMA PS1, 22-25 Jackson Avenue, Queens, 12–6 p.m.

This exhibition celebrates the life and work of fashion illustrator Antonio Lopez, who was born in Utuado, Puerto Rico, in 1943 and died of AIDS complications in 1987. After his family arrived in New York City, his mother, a seamstress, would insist that Lopez draw the flowers for her embroidery work to help keep him off of the streets. Lopez also assisted his father, a maker of mannequins, with the application of makeup to his creations. After graduating high school, Lopez attended the Fashion Institute of Technology, and later began to create illustrations for



Test-9 Art Events To Attend In New York City This Week | ARTnews

Opening: George Henry Longly at Red Bull Studios Test

executive editor Rachel Corbett. This show, Fischl’s first at this gallery location, investigates interactions that take place within the ostentatious setting of art fairs. A press release states, “Both intrigued and appalled by the concept, he began to visit fairs to observe the crowd, taking his camera with him to capture snapshots of the characters that roam the booths. The figures Fischl paints are not portraits. They represent archetypes of the people at fairs: the shrewd dealers in suits, the eccentric art fans, the wearied group sitting by the refreshment area, almost all of them engrossed in their cell phones.”