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Posts from the “Exhibitions” Category

Empire: An Arturo Vega Retrospective

Posted on November 10, 2016

Artwork: Arturo Vega, Empire, 1989 Acrylic and Silkscreen on Canvas. 80 1/4 x 132 1/4 x 1 1/2 inches, Individual panels: 80 1/4 x 20 1/4 and 80 1/4 x 30 1/4 and 80 1/4 x 31 1/4 and 80 1/4 x 25 1/4

Artwork: Arturo Vega, Empire, 1989 Acrylic and Silkscreen on Canvas. 80 1/4 x 132 1/4 x 1 1/2 inches, Individual panels: 80 1/4 x 20 1/4 and 80 1/4 x 30 1/4 and 80 1/4 x 31 1/4 and 80 1/4 x 25 1/4

Arturo Vega: you may not know his name but you assuredly know his work, as the Ramones logo is one of the most replicated images on earth. The mastermind behind it all was a tireless workhorse who toured with the band for more than two decades and nearly 2,263 live shows as the art and lighting director. And when he wasn’t on tour he could be found in his loft at 6 East 2nd Street at Bowery in the East Village, producing artwork of his own, or on the scene, out supporting fledgling artists with advice, a place to work, or straight up purchasing their pieces to put money in their pocket.

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Vega, who died in 2013 at the age of 65, hailed from Chihuahua, Mexico, where he was an artist and activist until the 1968, when he fled the country after being arrested en masse with 148 of the country’s most notable artists, poets, and intellectuals including filmmaker Alejandro Jodorowsky. With the government carrying out disappearances, torture, and extralegal executions, Vega fled to New York, which he had already visited a few times, establishing a network with prominent figures including music publicist Jane Friedman.

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Read the Full Story at Crave Online

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Photo by Miss Rosen

Photo by Miss Rosen

 

Categories: 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Manhattan, Painting

Yayoi Kusama: In Infinity

Posted on October 31, 2016

© Courtesy of Ota Fine Arts, Tokyo/ Singapore; Victoria Miro Gallery, London; David Zwirner, New York, © Yayoi Kusama.

© Courtesy of Ota Fine Arts, Tokyo/ Singapore; Victoria Miro Gallery, London; David Zwirner, New York, © Yayoi Kusama.

“I, Kusama, am the modern Alice in Wonderland,’ Japanese artist Yayoi Kusama declares. At the age of 87, Kusama is one of the most famous living artists on earth, becoming known the world over for her mindblowing installations of the infinite.

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With the polka dot as the basis for her work, Kusama has taken the most finite form and rendered it limitless. She explains, “A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colourful, senseless and unknowing. Polka-dots can’t stay alone; like the communicative life of people, two or three polka-dots become movement… Polka-dots are a way to infinity.”

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Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Japan, Women

Edward Burtynsky: Essential Elements

Posted on October 30, 2016

Photo: Thjorsà River #1, Southern Region, Iceland, 2012. © Edward Burtynsky 2016. Courtesy Flowers Gallery, London / Metivier Gallery, Toronto

Photo: Thjorsà River #1, Southern Region, Iceland, 2012. © Edward Burtynsky 2016. Courtesy Flowers Gallery, London / Metivier Gallery, Toronto

We have entered the Anthopocene Era, marked by the turning point when human activities began to make a significant global impact on the Earth’s geology and ecosystems. Many place the starting point with the Industrial Revolution, when mass production became the norm, and the machine rose to prominence as evidence of humankind’s ability to dominate nature—without thought or concern to the long term.

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We’ve been riding this train for two centuries, quick to ignore evidence to the contrary, lest it cause us any intellectual or physical discomfort. The human impact on the planet is marginalized or excused while the changes to climate are carefully swept under the rug. The increase in extinctions and the decline in biodiversity go unremarked.

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As Alduous Huxley observed in Vanity Fair in 1928, “”The colossal material expansion of recent years is destined, in all probability, to be a temporary and transient phenomenon. We are rich because we are living on our capital. The coal, the oil, the phosphates which we are so recklessly using can never be replaced. When the supplies are exhausted, men will have to do without…. It will be felt as a superlative catastrophe.”

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Categories: 1970s, 1980s, 1990s, Art, Books, Crave, Exhibitions, Photography

Ai Wewei: #SafePassage

Posted on October 27, 2016

Photo: Incoming refugee boat, Lesbos, Greece. 17 February 2016 © Ai Weiwei Studio.

Photo: Incoming refugee boat, Lesbos, Greece. 17 February 2016 © Ai Weiwei Studio.

 

“My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall. Art should live in the heart of the people. Ordinary people should have the same ability to understand art as anybody else. I don’t think art is elite or mysterious. I don’t think anybody can separate art from politics. The intention to separate art from politics is itself a very political intention,” Chinese artist and activist Ai Weiwei (b. 1957) told Der Spiegel in 2011.

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Ai Weiwei rose to global prominence in 2011 Chinese authorities arrested him at the Beijing Capital International Airport, although no official charges were ever filed. He was placed under 24-hour supervision, accompanied by two guards who never left his side, then released after 81 days. It was a very different outcome from that of his father, the poet Ai Qing, who spoke out against the government in 1957. The whole family was exiled to a labor camp when Ai Weiwei was just one year old, then transferred to the remote province of Xinjiang, where he was forced to perform five years of physically demanding work in his 60s.

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Categories: Art, Crave, Exhibitions

Humanism + Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky

Posted on October 21, 2016

Aleksandr Zhitomirsky. On the Military Wavelength, 1968. Ne boltai! Collection. © Vladimir Zhitomirsky.

Aleksandr Zhitomirsky. On the Military Wavelength, 1968. Ne boltai! Collection. © Vladimir Zhitomirsky.

If only we could see ourselves the way others see us. Would we be able to tolerate it? The gap between self image and public perception can be quite a divide that becomes insurmountable when the ego feels threatened by anything less than flattering may come to the light. We may do everything in our power to deny what others see, including gaslight, discredit, and ad hominem attacks.

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Nevertheless, self image is destined to reach an end; nothing lasts forever, including our most desperate dreams. It is here, in the passage of time, that a new vision emerges composed all those who have been paying attention all along. In the case of individuals, this usually has limited scope: most people fly under the radar and traces of their life vanish in death. But for nations, this is an entirely different affair. Despite best efforts to the contrary, dirty laundry continues to be aired.

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Categories: 1960s, 1970s, 1980s, Art, Crave, Exhibitions

Ruddy Roye: When Living is a Protest

Posted on October 19, 2016

Photo: Ruddy Roye. Blood, Sweat and Tears (Ryan), Morton Street, Newark, NJ, December 19, 2015 Archival pigment print on metallic paper, printed 2016, 35 x 35 in Edition of 10; Signed by photographer verso

Photo: Ruddy Roye. Blood, Sweat and Tears (Ryan), Morton Street, Newark, NJ, December 19, 2015 Archival pigment print on metallic paper, printed 2016, 35 x 35 in Edition of 10; Signed by photographer verso

From the top of the Lincoln Memorial, Dr. Martin Luther King, Jr. spoke, delivering a sermon to the world, one that resonates in our mind’s ear whenever we hear the words, “I have a dream.” The timbre of his voice is permanently imprinted on our soul, his words among the most patriotic ever spoken. On the eighth anniversary of the brutal murder of 14-year-old Emmett Till, Dr. King’s testimony was centuries in the making, calling forth the ancestors of this country’s earliest days.

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“Our lives begin to end the day we become silent about the things that matter,” Dr. King warned. There is an exquisite horror to the dying soul that lurks within the living body, feasting upon flesh and bone. It has been said that silence equals death; to speak against injustice and oppression is the essence of what it means to be American. These are the words that photographer Radcliffe “Ruddy” Roye carries within himself, revealing on his Instagram: “It is a creed I live by at whatever cost.”

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Categories: Art, Brooklyn, Crave, Exhibitions, Photography

All Power to the People: Black Panthers at 50

Posted on October 15, 2016

Emory Douglas, untitled (On the Bones of the Oppressors), 1969. Poster, 20 x 13.5 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.

Emory Douglas, untitled (On the Bones of the Oppressors), 1969. Poster, 20 x 13.5 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.

Fifty years ago today, Bobby Seale and Huey P. Newton founded the Black Panther Party for Self-Defense to protect the citizens of Oakland, CA, from abuses of the state. Under the protection of the Second Amendment, the created armed citizens’ patrols to monitor police officers and challenge police brutality. “Our position was: If you don’t attack us, there won’t be any violence; if you bring violence to us, we will defend ourselves,” explained Seale, who was inspired by the Black Nationalist philosophy of Malcolm X.

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Following the Great Migration, the demographics Oakland had been transformed by a new generation of African Americans living in a community ruled by de facto segregation. This was a new type of apartheid that hid its hand covertly instituting policies likes redlining that denied services like banking, insurance, healthcare, mortgages, credit cards, and retail to the black community. Combined with high unemployment, underfunded public schools, and substandard housing, a new form of poverty emerged, and the state, under then-Governor Ronald Reagan, sanctioned violence against.

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Emory Douglas, Afro-American Solidarity with the Oppressed People of the World, 1969. Poster, 22.75 x 14.875 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.

Emory Douglas, Afro-American Solidarity with the Oppressed People of the World, 1969. Poster, 22.75 x 14.875 in. Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.

Categories: 1960s, 1970s, Art, Crave, Exhibitions

Jacob Lawrence: The Migration Series

Posted on October 14, 2016

Artwork: Jacob Lawrence. The Migration Series. 1940-41. Panel 15: “Another cause was lynching. It was found that where there had been a lynching, the people who were reluctant to leave at first left immediately after this.” Casein tempera on hardboard, 18 x 12″ (45.7 x 30.5 cm). The Phillips Collection, Washington D.C. Acquired 1942. © 2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Photograph courtesy The Phillips Collection, Washington D.C.

Artwork: Jacob Lawrence. The Migration Series. 1940-41. Panel 15: “Another cause was lynching. It was found that where there had been a lynching, the people who were reluctant to leave at first left immediately after this.” Casein tempera on hardboard, 18 x 12″ (45.7 x 30.5 cm). The Phillips Collection, Washington D.C. Acquired 1942. © 2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Photograph courtesy The Phillips Collection, Washington D.C.

Over a period of six decades, more than six million African Americans moved from fourteen states in the South, seeking a better life for themselves and their families in the Northeast, Midwest, and West parts of the country. The first wave of the Great Migration occurred between 1910-1930, as about 1.6 million people left rural areas and moved to industrial cities in search of work.

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The Great Migration was one of the largest, most rapid movements in history. Spurned on by acts of homegrown terrorism including lynching, murder, and church burnings, as well as apartheid under Jim Crow laws, African Americans became refugees in their own country.

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Read the Full Story at Crave Online

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Jacob Lawrence. The Migration Series. 1940-41. Panel 58: “In the North the Negro had better educational facilities.” Casein tempera on hardboard, 18 x 12″ (45.7 x 30.5 cm). The Museum of Modern Art, New York. Gift of Mrs. David M. Levy. © 2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Digital image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Jacob Lawrence. The Migration Series. 1940-41. Panel 58: “In the North the Negro had better educational facilities.” Casein tempera on hardboard, 18 x 12″ (45.7 x 30.5 cm). The Museum of Modern Art, New York. Gift of Mrs. David M. Levy. © 2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Digital image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Categories: Art, Crave, Exhibitions, Painting

OFF WHITE: Curated by Akintola Hanif

Posted on October 12, 2016

Artwork: Adrian A. Franks, 10 Shots For Help, 2013, Digital giclee on watercolor paper, 60 x 39 inches.

Artwork: Adrian A. Franks, 10 Shots For Help, 2013, Digital giclee on watercolor paper, 60 x 39 inches.

The concept of “race” is a political, social, and economic construct designed maintain a system of double standards that sees one group benefit through the oppression and exploitation of everyone else. Its roots were planted in the Virginia colony during the late 1600s, when political leaders found themselves loathe to give up their bond servants, and the children born unto them, after their period of servitude had been completed. At the same time, it became clear peasants were as difficult to govern in the New World as they had been in the Old. Peasants were prone to band together and rise up against the ruling class, with no thought towards the fact that their ancestries differed from one another.

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Desperate to find a solution to these quandaries, the leaders of Virginia invented a new group of people, legislating “whites” into existence in 1691. Under these new laws, they established the concept of race, where “whites” were given certain rights that “blacks” were denied. Divide-and-conquer is one of the oldest tricks in the book, and the played the card for it all it was worth. At the close of the seventeenth century, race was beholden to legal and economic control, weaving injustice into the fabric of the nation before it even existed as such.

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Categories: Art, Brooklyn, Crave, Exhibitions

In the Tower: Barbara Kruger

Posted on October 5, 2016

Artwork: Barbara Kruger, Untitled (Know nothing, Believe anything, Forget everything), 1987/2014 screenprint on vinyl overall: 274.32 x 342.05 cm (108 x 134 11/16 in.) National Gallery of Art, Washington, Gift of the Collectors Committee, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore S. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith © Barbara Kruger

Artwork: Barbara Kruger, Untitled (Know nothing, Believe anything, Forget everything), 1987/2014 screenprint on vinyl overall: 274.32 x 342.05 cm (108 x 134 11/16 in.) National Gallery of Art, Washington, Gift of the Collectors Committee, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore S. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith © Barbara Kruger

You have seen it a million times in your minds eye: across a black-and-white photograph, a red bar runs. Against the red, words are written in white Futura Bold typeface. It is the work of American artist Barbara Kruger (b. 1945), so iconic no less than Supreme used it as inspiration for their logo, perhaps unironically referencing her famed 1987 work that called out consumer culture with the words, “I shop therefore I am.”

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Three decades ago, Kruger brought us to the edge. We looked into the abyss and saw ourselves staring back at us, with a queasy smile of recognition. Fast forward to 2016, where many people proudly see themselves as brands. They take selfies and layer those photographs with words, unwittingly incorporating the very aphorisms Kruger has been speaking throughout her career. It’s a bit like the snake eating its tail and it becomes clear: progress is simply forward motion in time. Revolution is when the circle spins 360 degrees, returning to its starting point. We’ve been here before, haven’t we?

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Categories: 1980s, 1990s, Art, Crave, Exhibitions

Meryl Meisler & James Panero: Bushwik Chronicle

Posted on October 4, 2016

16" x 20" acrylic on cibachrome

Artwork: A Garden Grows in Bushwick 1988, 16″ x20″ Acrylic Paint on Cibachrome Print © Meryl Meisler 2016.

 

On the northern edge of Brooklyn lies Bushwick, the largest Latino community in the borough. Comprised primarily of Americans of Puerto Rican and Dominican descent, the neighborhood has produced leaders like Nydia Velázquez, the first Latina elected to the United States Congress and actress and activist Rosie Perez.

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By the early 1970s, it became devastated under the federal policy of “benign neglect,” as well as the Nixon White House’s drug war, which flooded the neighborhood with heroin. By the late 1970s, arson had taken its toll, leaving Bushwick looking like a third world country. Yet, despite it all, the community persevered.

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Read the Full Story at Crave Online

Categories: 1980s, Art, Brooklyn, Crave, Exhibitions, Photography

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