Well this just made my morning. I just read that this commissioned Matisse ceramic has been donated to LACMA’s permanent collection. This is quite the destination piece.
hyde or die
Leaps into the Void: Documents of Nouveau Realist Performance
Pyrotechnics, exploding pigment, blowtorches, lacerated décollage, and found materials, define the radical gestures of the avant-garde movement, Nouveau Réalisme. Translated as “New Realism,” it was founded by art critic Pierre Restany and artist Yves Klein in Paris in 1960. The circle of artists formally and informally associated with the movement included Niki de Saint Phalle, Jean Tinguely, Martial Raysse, Christo, Mimmo Rotella and Arman, among others. They believed direct and aggressive physical explorations, characterized by a paradoxical emphasis on notions of deconstruction and accumulation, and the use of discarded materials from everyday life in the tradition of Dada, achieved a more truthful understanding of modern society in a moment of rising consumerism. As proclaimed in the First Manifesto of Nouveau Réalisme, “if one succeeds at reintegrating oneself with the real, one achieves transcendence, which is emotion, sentiment, and finally, poetry.” via…
Well, aren’t you Houstonites lucky? This is up at the Menil through August 9th.
Tomás Saraceno Biospheres, 2009
If you are in London later this month, I think this is way worth checking out:
Tate and the Royal Society collaborate to bring together scientists and artists to imagine the social and psychological impacts of climate change.
The event begins on Friday 19 March at 18.30 with a screening of drama-documentary The Age of Stupid (2009), which is followed by a discussion.
The symposium programme starts at 10.30 on Saturday 20 March and includes presentations, panel discussions and a public forum following a series of break up sessions where the audience will have the opportunity to formulate propositions and questions to the speakers with the help of a group of facilitators.
The first discussion is on March 19th at 6:30 pm and then again on the 20th at 10:30am. Buy tickets here, I have a feeling it will sell out quickly.
Megan Feldman Anna and Michael at P.S. 1 Contemporary Art Center 2010
Look what Flavorpill did:
Even if you haven’t wandered up to 86th Street recently, chances are you’ve heard whispers of something unusual afoot. That something is courtesy of performance artist Tino Sehgal, whose ephemeral pieces rely on empty space and spectator involvement. One such piece in his current solo show at the Guggenheim, titled “The Kiss,” involves a couple embracing on the floor of the rotunda in a “changing, slow-motion, amorous” entanglement. We at Flavorpill love staging elaborate photo shoots in museums and decided to reinterpret Sehgal’s performance piece in five New York City art institutions: The Metropolitan Museum, New Museum, Rubin Museum, P.S.1, and the Brooklyn Museum.
I kind of did some kissing at a museum this weekend, but nothing was documented. I guess I will have to settle being not as cute.
And yes, it is that Anna and Michael.
Remember when I told you about the Meet Me books MoMA was doing to help families dealing with relatives who were suffering from Alzheimer’s disease? They have created a website to correlate with that. You can read more about it here.
» San Francisco Museum of Modern Art Raises $250 Million for Expansion and Endowment
San Francisco Museum of Modern Art Board Chair Charles R. Schwab today announced that the museum has received landmark contributions totaling more than $250 million to expand the museum and grow its endowment. Comprising more than 50 percent of a projected $480 million campaign goal, these pledges from museum leadership will fuel SFMOMA’s plans to triple its gallery and public spaces; offer enhanced exhibitions, educational programs, and services for the public; and showcase the Fisher Collection, one the world’s finest private collections of modern and contemporary art. Of the total raised to date, $100 million will go toward SFMOMA’s endowment—increasing it by 100 percent—to support expanded programming and operations and to ensure the institution’s long-term success. These early commitments, which will enable the museum to move forward confidently with its expansion, are structured as challenge grants in order to catalyze support from other funders.
“I think it is fair to say that the environment became untenable.”
— Michael Brand in an interview about leaving the Getty.
