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Self. 7.16.12
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Recently Opened:
“Circulation: Date, Place, Events”
Takuma Nakahira
Yossi Milo Gallery, 245 Tenth Ave., NYC (bt W24th & W25th St)
first... -
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Khayelitsha, Cape Town - Anton Crone via Miss Moss
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“The slums near Manila Bay are unhealthy enough—the Ulingans live next to a rubbish dump,” writes Reportage photographer Lisa Wiltse. “But the...
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littlechien posted this
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por Jessica Fortner
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Holy smokes friends, LEGO-building just reached a whole new level of awesomeness. This is a life-size model of a Star Wars X-Wing Fighter and it...
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I’m doing a lot of photo restorations lately and I’m hoping I could possibly get a Photoshop based job in NYC this summer. Anyways, I rediscovered...
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45 posts tagged new york
In the 1940s, every New York subway station had a tribute to the month’s Miss Subway, a contest for glamorous young female writers. Each poster had an image of the young beauty queen next to a description of their accomplishments and life dreams. The contest existed from 1941-1976, honoring over 200 brainy beauties.
New York artist Fiona Gardner began researching the competition and soon became obsessed, gathering clues about the ladies’ schools and occupations. Gardner eventually tracked down 40 Miss Subways winners across the country who were willing to be photographed and interviewed. “Meet Miss Subways” will collaborate the untold stories of these part-time beauty queens and who they grew up to become.
Voltage on Vacation
By Andy Votel
“I get a lot of inspiration while looking for records and books in European junk-shops. This was inspired by an old electronics shop in Spain which accidentally specialized in obsolete electricity adapters…. the entire shop window was filled with a wall of international plug sockets.
I didn’t want to spend too much time expressing the instantaneous wonder of this event.”
*click image to purchase
Tomorrow, Dec 8, 6:30p:
Opening reception for “My Kind Book” by Sue Tompkins
Dia:Chelsea, 535 W22nd St., NYC (5th Floor)
A project commissioned by Dia for the Artists’ Projects for the Web series at http://www.diaart.org/tompkins
At the launch event, Tompkins will perform “Hallo, Welcome to Keith Street (2010)”, followed by a conversation with Dia curator Yasmil Raymond. Admission is free.
Light This Night On Fire
Come see what it’s like strolling the art galleries of Art Basel
Opening Friday, December 9th, 7-9p:
Andrea Mary Marshall
“Toxic Women”
Allegra LaViola Gallery, 179 East Broadway, NYC
(F train to East Broadway stop, or 4,5,6,N,R to Canal St.)
“Toxic Women is a narrative collection of work that looks at the implications of trying to live up to the cultural figment of the “ideal woman”. Through identity play that borders on performance, Marshall reinvents herself as highly developed characters meticulously crafted through the art of fashion, makeup, wigs, and props. For her series of “Vague Covers”, Marshall depicts the “toxic woman” as a dichotomy, born out of a pursuit of the ideal, simultaneously adored and rejected by society. For her series of “Demon Paintings”, Marshall paints herself into contradictions and conflicts of identity that demonize the muse, melding religious iconography, sexuality, fashion and fetishism with a lexicon of repetitive motifs used throughout the artist’s practice.” - thru Dec 22
Photography on Dripbook : : Davies+Starr | Flight of the Pliers | New York, NY, US
Runaway bride: New York Halloween dog parade
Tank the English bulldog as the ‘runaway bride’ at the 21st annual Tompkins Square Halloween dog Parade in New York Photograph: Timothy A. Clary/AFP/Getty Images
Thinking about the end of the week and how to get away…. Here’s what some of Condé Nast Traveler’s staff did last weekend.
“The Great Jack-O-Lantern Blaze at Van Cortlandt Manor in Croton-on-Hudson, NY brought the yearly family visit to a pumpkin patch to a whole new level. During the leisurely 90-minute walk-through, we were consistently stunned by the craftsmanship and artistry of the spooky, zany and beautiful pumpkin creations that lined the park. Is carving a jack-o-lantern one of your autumn traditions?”—Danielle Berman, web producer
Check out our awards for the best cities in the world, to inspire your next weekend getaway.
Photo: Janice Berman
![nycartscene:
Closing Soon (October 15th)
Luke Stettner “Eyes That Are Like Two Suns”
Kate Werble Gallery 83 Vandam St, NYCAt first glance, Luke Stettner’s first solo show in New York City—comprising nested plates, a white enamel grid with individually lacerated foam rectangles, framed sheets of paper—appears deliberately underwhelming. But deeper inspection uncovers narratives of intimate valence and the laborious processes that brought the artworks into being. In the past several years, Stettner has created (and exhibited in group shows) a considerable body of highly conceptual work inspired by the death of his father and the obsessive, all-consuming grief that surrounds such a loss. Such work also populates the present exhibition. Enacting the anger and futility of mourning, Stettner ground his father’s funerary urn to dust, literally reducing a vessel for ashes to ashes, and placed what was left in a glass vase beneath burial layers of oil and water (The Grey Ash Soft, 2011). The bodily remains themselves were transferred to a receptacle made from a hollowed-out stack of candy-colored plates off of which the artist’s family used to eat (Nesting Plates [A Funerary Urn for My Father’s Ashes], 2010), an attempt to refute death not only with nesting and birth imagery, but also with childhood memory and a touch of humor. Elsewhere, Untitled (Absence Grows Sharper), 2011—a series of enamel-sheathed foam rectangles with vertical gashes down their centers—responds to a description in Roland Barthes’s Mourning Diary of the perplexing nature of loss as a kind of laceration. But if death sharpens absence, Stettner suggests, it also dulls presence. In Grey Area, 2011, the twelve black-and-white photographs of a Henri Cartier-Bresson calendar have been dissolved into pulp and reconstituted into gray sheets of handmade paper. The resulting nonimages simply but elegantly reify the vague emotional fog that usurps the experience of distinct events and scenes when one is in the grip of grief: All things become indistinguishable from one another, and time itself fails to move on.” -ARTFORUM](http://25.media.tumblr.com/tumblr_lsxubvmh2v1r2ysm3o1_500.jpg)
Closing Soon (October 15th)
Luke Stettner “Eyes That Are Like Two Suns”
Kate Werble Gallery 83 Vandam St, NYC
At first glance, Luke Stettner’s first solo show in New York City—comprising nested plates, a white enamel grid with individually lacerated foam rectangles, framed sheets of paper—appears deliberately underwhelming. But deeper inspection uncovers narratives of intimate valence and the laborious processes that brought the artworks into being. In the past several years, Stettner has created (and exhibited in group shows) a considerable body of highly conceptual work inspired by the death of his father and the obsessive, all-consuming grief that surrounds such a loss. Such work also populates the present exhibition. Enacting the anger and futility of mourning, Stettner ground his father’s funerary urn to dust, literally reducing a vessel for ashes to ashes, and placed what was left in a glass vase beneath burial layers of oil and water (The Grey Ash Soft, 2011). The bodily remains themselves were transferred to a receptacle made from a hollowed-out stack of candy-colored plates off of which the artist’s family used to eat (Nesting Plates [A Funerary Urn for My Father’s Ashes], 2010), an attempt to refute death not only with nesting and birth imagery, but also with childhood memory and a touch of humor. Elsewhere, Untitled (Absence Grows Sharper), 2011—a series of enamel-sheathed foam rectangles with vertical gashes down their centers—responds to a description in Roland Barthes’s Mourning Diary of the perplexing nature of loss as a kind of laceration. But if death sharpens absence, Stettner suggests, it also dulls presence. In Grey Area, 2011, the twelve black-and-white photographs of a Henri Cartier-Bresson calendar have been dissolved into pulp and reconstituted into gray sheets of handmade paper. The resulting nonimages simply but elegantly reify the vague emotional fog that usurps the experience of distinct events and scenes when one is in the grip of grief: All things become indistinguishable from one another, and time itself fails to move on.” -ARTFORUM
