NEW YORK—The Paula Cooper Gallery is pleased to present an exhibition of recent works by Justin Matherly. The exhibition will open on April 22 and remain on view through May 23, 2014. This will be the closing exhibition for the gallery’s pop-up space at 197 Tenth Avenue (between 21st and 22nd Street).
Known for his large-scale cast concrete sculptures referencing Hellenistic or Roman statuary, Matherly presents new small-scale abstract works. Elements from crutches and walkers are cut, reassembled, and contorted into various shapes, with cast concrete forms accreting around the metal and acting as misshapen connectors or nodes. In a departure from his recent work, Matherly expands his use of color as an expressive element. The works suggest a tension between line and volume, painting and sculpture, the industrial and the organic.
Also on view are monoprints that form a record of Matherly’s research into political, historical, and art historical crosscurrents, with influences as diverse as Greek mythology, Suprematism, music, and American pop culture.
Justin Matherly (b. 1972) lives and works in New York. His sculpture New Beaches was on view in 2012 as part of the Public Art Fund’s “Common Ground” exhibition at City Hall Park. He has also exhibited at the Sculpture Center, New York (2010), and the Pacific College of Art, Portland, OR (2009). His work was recently included in the group show A Triple Tour: Works from the Pinault Collection at La Conciergerie in Paris (October 21, 2013 – January 6, 2014).
For more information, please contact the gallery: (212) 255-1105; firstname.lastname@example.org
Contemporary Galleries, second floor
The Donald B. and Catherine C. Marron Atrium, second floor
The Yoshiko and Akio Morita Media Gallery, second floor
In conjunction with the film exhibition Sigmar Polke: Films 1969–1995
The Museum of Modern Art presents the first comprehensive retrospective of Sigmar Polke (German, 1941–2010), encompassing Polke’s work across all mediums, including painting, photography, film, drawing, prints, and sculpture. Widely regarded as one of the most influential artists of the postwar generation, Polke possessed an irreverent wit that, coupled with his exceptional grasp of the properties of his materials, pushed him to experiment freely with the conventions of art and art history. Constantly searching, Polke studiously avoided any one signature style or medium; his method exemplified the definition of alibi, “in or at another place,” which also suggests a deflection of blame. This exhibition places Polke’s enormous skepticism of all social, political, and artistic traditions against German history and the country’s transformation in the postwar period. Four gallery spaces on MoMA’s second floor are dedicated to the exhibition, which comprises more than 250 works and constitutes one of the largest exhibitions ever organized at the Museum.
The exhibition is organized chronologically and across mediums, ranging from the intimacy of a notebook to pieces that test the architectural scale of most museum galleries. Among the many noted works on view are 13 films by Polke, including eight which have never before been available; a performance made for West German television that was last seen when it aired in 1972; and a group of monumental paintings made entirely of soot on glass that have never been exhibited in the United States.
The exhibition is organized by MoMA with Tate Modern, London. Organized by Kathy Halbreich, Associate Director, MoMA; with Mark Godfrey, Curator of International Art, Tate Modern; and Lanka Tattersall, Curatorial Assistant, Department of Painting and Sculpture, MoMA.
OTHER VENUES AND DATES
Tate Modern, London, United Kingdom
October 1, 2014–February 8, 2015
Museum Ludwig, Cologne, Germany
March 14–July 5, 2015
Following up on our February presentation of THE RAPE OF EUROPA, Art Seen presents an unmissable look at one of the art world’s most fascinating controversies in THE ART OF THE STEAL.
Don Argott’ gripping documentary THE ART OF THE STEAL chronicles the long and dramatic struggle for control of the Barnes Foundation (a private collection of art valued at more than $25 billion). In 1922, Dr. Albert C. Barnes formed a remarkable educational institution around his priceless collection of art located just five miles outside of Philadelphia. More than 50 years after Barnes’ death, a powerful group of moneyed interests went to court for control of the with the intention to bring it to a new museum in Philadelphia. Standing in their way was a group of Barnes’ former students and his will, which contains strict instructions stating the Foundation should always be an educational institution, and that the paintings may never be removed. While we now know what ultimately happened, witness the still relevant battle between artistic intentions and cultural tourism.
In partnership with frieze. Featuring Absolut Vodka Cocktails.
In celebration of the exhibition Ai Weiwei: According to What?, we’re holding special screenings of films about the artist throughout the day.
12 p.m. Ai Weiwei: Without Fear or Favour (Matthew Springford, 2010, 55 min.). This BBC One documentary, first broadcast before Ai Weiwei's arrest by the Chinese authorities in April 2011, explores the artist’s creative political expression within the authoritarian society he criticizes through his work.
1:30 p.m. Art in the Twenty-First Century “Change” (Art21, 2012, 20 min.) and Phil Tinari on Ai Weiwei (Art21, 2014, 2 min.). These shorts focus on Ai Weiwei as an artist responding to a world of transformations—cultural, material, and aesthetic—and actively engaging communities as both collaborators and subjects.
2 p.m. Ai Weiwei: Never Sorry (Alison Klayman, 2012, 91 min.). Director Alison Klayman offers an inside look into Ai Weiwei’s increasingly political work over the past few years, and his use of digital media to express himself as both an international artist and a Chinese activist.
Let’s celebrate the magical world of libros! Experience stories as they come to life through art, storytelling, and workshops, and pick up your next literary adventure at our book fair. ¡Celebremos el mundo mágico de los libros! Los cuentos cobran vida a través de arte, cuentos, y talleres. Aprovecha de recoger tu próxima aventura literaria en nuestra propia feria del libro.
Family Resources/Recursos para la Familia
ArteXplorers Family Corner
12:00pm – 3:00pm, Lobby
Stop by our new arteXplorers Family Corner, where you can pick up fun and educational activity cards to help you explore Las Galerías, and others to use at home. Pasa por nuestra nueva Esquina Familiar arteXplorers, donde puedes recoger tarjetas de actividades que facilitarán tu visita en Las Galerías, al igual que en tu casa.
Art-Making/Taller de Arte
Manos a la Obra
12:00pm – 3:00pm, Las Galerías and El Taller
What’s your favorite story? Create your favorite character out of everyday materials. ¿Cual es tu cuento favorito? Crea tu personaje favorito de materiales que se usan todo los dias.
Colorin Colorado…with Flor Bromley
12:00pm and 2:00pm, El Café
Join us for the story of Librito, a little book that travels in search of his own destiny, and Juan Bobo and the Magic Book, inspired by the Jack and the Beanstalk story. Únete a nosotros para oir la historia de Librito, un pequeño libro que viaja en busqueda de su destino, y Juan Bobo and the Magic Book, inspirado por el cuento de Jack and the Beanstalk.
Colorin Colorado…with Angélica Negrón
1:00pm and 3:00pm, El Café
Reading meets music in Amigos, a fun and unique sound story, where you’ll play musical instruments while learning about shapes and colors in español. Toca instrumentos y aprende sobre formas y colores en español, con Amigos, una histora de sonido divertido y único.
Book Fair/Feria de Libros
MAD ABOUT BOOKS
12:00pm – 4:00pm, 5th Ave. bet. 104th and 105th St.
Stop by and discover the world of books! Featuring local bookstores, libraries, and neighborhood organizations from around the city. Pasa y descubre un mundo de libros! Librerias, bibliotecas, y organizaciones comunitarias de toda la ciudad estaran presentes
Literary Arts/Artes Literarias
POETAS CON CAFÉ
4:30pm – 5:30pm, El Café
Join us for an afternoon of poesia! Artist and Poetas con Café founder/producer Roger Cabán will host readings inspired by the mainland and the island. Featured poets include Myrna Nieves, professor and founding member of Boricua College, Jesus Papoleto Meléndez, who recently released his new book Hey Yo! Yo Soy! 40 Years of Nuyorican Street Poetry, and others.
In honor of Easter, the Museum delves into the world of Henson bunnies. Tale of the Bunny Picnic (1986), co-directed by Jim Henson, is the seldom-seen one-hour special which introduced Bean Bunny. In it, Bean wants to help get ready for the big bunny picnic, but his older siblings think he is too little. Other clips featuring notable Muppet rabbits and bunnies will precede the feature. Approx. 70 minutes.
Free with Museum admission on a first-come, first-served basis. Museum members may reserve tickets in advance by calling 718 777 6800.
This spring, Pomerium performs its exploration of the great Renaissance choral music of Passiontide and Easter. The program proceeds from Palm Sunday to Easter Day with an emphasis on music for Holy Thursday and Good Friday. Stylistically, the progression leads from chant to its elaborations by Guillaume Dufay and Senfl. The austerity of the Crucifixion gives way to the splendid celebration of the Resurrection, culminating in glorious motets by Orlande de Lassus, Claudio Monteverdi, Carlo Gesualdo, and William Byrd.
Jannis Kounellis. Da inventare sul posto (To invent on the spot). 1972. Oil and graphite on canvas, 97 1/4 x 118 1/8". Rheingold Collection. Photo: The Museum of Modern Art, Imaging Services
Among the works included in the exhibition Ileana Sonnabend: Ambassador for the New is Jannis Kounellis's Da inventare sul posto (To invent on the spot) (1972), which comprises both a painting and a performance featuring a violinist and ballerina. While the painting is on view at all times, live performances are presented at specific times throughout the exhibition. These performances are facilitated in collaboration with Brooklyn Ballet.
In conjunction with the exhibition Ileana Sonnabend: Ambassador for the New
Noah Purifoy, “66 Signs of Neon,” ca. 1966. Exhibition view. Image: Courtesy the Noah Purifoy Foundation noahpurifoy.com
On Saturday April 19, the New Museum will hold a one-day symposium on exhibitions organized by artists, with a particular focus on the exhibition as material, rather than a collection of disparate objects. We will consider a variety of structural mechanisms used by artists to render and organize space, time, and agents in experimental ways, examining occasions where the unique substance of an exhibition has been engaged to allow for an innovative working-through of ideas.
Considering the exhibition as material warrants a close look at the mechanisms by which exhibitions cohere or coagulate into distinct objects. The symposium will feature case studies addressing a variety of artist-produced exhibitions, critically examining the methodologies and impetuses various figures have employed when structuring the interrelations between works on display. It will also raise questions about the implications for considering the exhibition as material with respect to the agency of artworks and other cultural artifacts, the experience of lived versus historical time, the conflation of real and simulated spatial order, and importantly, the negotiations of equivalences and differences across disparate kinds of artworks. Alongside these lines of inquiry, discussions will also problematize the recent recognition of artist-curated exhibitions as a typology within the greater history of exhibitions, considering what it means to carve out a distinct space for the artist exhibition-maker, as well as what kinds of exhibition forms are potentially privileged by such histories.
Speakers at the symposium include Juli Carson on Yael Bartana’s Congress for the Jewish Renaissance Movement in Poland, 2012; Dominique Gonzalez-Foerster on her practice of exhibition-making; Alex Kitnick on Noah Purifoy’s “66 Signs of Neon”; Kevin Lotery on Richard Hamilton’s “An Exhibit,” 1957; Eve Meltzer on Mary Kelly’s projects; Stephen Prina on his “Monochrome Painting,” 1989, and “Galerie Max Hetzler, 1991,” 2001; and Jan Verwoert on the interior spaces of Hanne Darboven.
“These things called exhibitions” was initiated as part of a larger research project curated by Florence Ostende, “The Exhibition Machine”, which considers the pioneering role artists have played in exhibition history. It has also been conceived in relation to the Education Department’s R&D Season on VOICE, as an opportunity to probe the shifts in value of the artist’s voice within the history of exhibitions. At the New Museum, “These things called exhibitions” is organized by Ostende, Adjunct Curator at Dallas Contemporary, and the New Museum’s Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, with Alicia Ritson, Senior Research Fellow.
The overarching research project of Ostende’s has other incarnations at the Drawing Center, the Artist’s Institute, and CUNY Graduate Center.
General Public $10
½ Gallery Admission with same day event ticket purchase.
RecessSoho | 41 Grand Street Ground Floor, New York
We know Manhattan's Chinatown as working class enclave, orientalist dreamscape, bustling commercial district. Chinatown Boheme proposes that we approach it as a fulcrum of the avant-garde. By choosing a handful of cultural artifacts as entry points—image, film, song, oral history, and poetry—the program explores the process of understanding and remaking Chinatown through activism and art from the 1960s through 90s.
Presented as part of Takashi Horisaki and Nina Horisaki-Christens' Session, Metabolic Morphology.