Thursday, June 4, 2009. 7:00 PM. Every Thursday during the month of June.
LEWIS FOREVER is in residence at the New Museum for the month of June, presenting new work in progress every Thursday night, responding to your input, and making up their mind as they go along.
LEWIS FOREVER is a performance collective of four siblings: three sisters and a brother; a director, two dancers, and a musician. Living half in New York and half in Europe, half Dominican and half Jewish American, LF is both a performance collective and a bloodline. They make new performance work for theatrical and non-theatrical spaces, present other artists, throw parties, and create other social situations that provide the opportunity to embody ideas and questions surrounding collective versus individual vision, emigration, post-American identity, transient identities, “transnationalism,” belonging, longing, and dislocation. Their work proposes a new model for the family structure, reconfiguring traditional notions. The content of LF’s residency will focus on the simultaneous development of a series of a solo projects and a video/live performance project. Throughout, LF will employ a variety of different strategies for investigating and expanding this material in front of a live audience.
Contemporary artist Titus Kaphar makes oil-on-canvas copies of European and American portrait paintings from the 18th and 19th centuries and reconfigures them in strategic ways to create a dialogue about race, art and representation. His work is at once beautiful and halting as he dances between fictional narrative and history. A graduate of Yale University, Kaphar makes work that is a timely display of what he sees as an alternative history. Titus Kaphar is the first recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship.
American art is finding new favor at home as a growing number of institutions showcase work from Colonial times to World War II. Experts can’t pinpoint why this is happening now. They suggest at least three forces: a national coming of age, a thirst for new artistic territory and a critical mass of American material that has made its way from private homes to public museums.
Morrison H. Heckscher, chairman of the Met’s extensively remodeled American Wing, says that few people collected American art in the early 20th century. “They lived with French and English antiques and European portraits of other people’s families,” he says. “There was no real respect for American art. But that has changed a lot in the last 30 years. There has been a great, growing interest in teaching and collecting it, and that has led to the building renovations and expansions that are cresting now.” Last week, the Met opened the American Wing, part of a $100-million makeover, with great fanfare and the blessing of First Lady Michelle Obama. The Nelson-Atkins Museum of Art in Kansas City, Mo., launched an elegant multimillion-dollar expansion of its American galleries last month. In the last few years, the Cleveland Museum of Art and the Detroit Institute of Arts have refurbished their American art spaces. Next May, the Virginia Museum of Fine Arts in Richmond expects to complete a major expansion with added space for American art, including the bequest of a $100-million collection. Later next year in Boston, the Museum of Fine Arts plans to open an American Wing as part of a huge building project.
The world's premier international art show for Modern and contemporary works, Art Basel features nearly 300 leading galleries from North America, Latin America, Europe, Asia and Africa. More than 2,500 artists, ranging from the great masters of Modern art to the latest generation of emerging stars, are represented in the show's multiple sections. The exhibition includes the highest-quality paintings, sculptures, drawings, installations, photographs, video and editioned works.
Friday, June 5, 2009. Concert begins approximately 8:30 AM at Rumsey Playfield
The "Good Morning America" 2009 Summer Concert Series has moved to Central Park! The live concerts will take place in Rumsey Playfield in New York City's Central Park.
John Legend is an American soul singer, songwriter, and pianist. He has won six Grammy Awards. Recently, Legend recorded "Green Light" in collaboration with Andre 3000 of OutKast as the lead single for this third studio album Evolver, released October 28, 2008.
My Maudin Career released April 21, 2009. Now on tour throughout North America and Europe.
Glasgow’s Camera Obscura have been making music for a decade, carried through the ups and downs of various line-up changes and the tender pain of daily life by the sweetly sad voice of Tracyanne Campbell. The band has had several line-up changes since founder members Tracyanne Campbell and Gavin Dunbar first began rehearsing together back in 1996. Since the amicable departure of Nigel Baillie (percussionist, trumpeter and proud daddy) in 2008, who still pops up onstage occasionally, they have existed as a five-piece. "My Maudlin Career" showcases Swedish producer, Jari Haapalainen’s wonderful understanding with the band. Songs such as "French Navy", "Honey In The Sun", "Swans" and "Away With Murder" typify another strong body of work that’s sure to delight, ensuring the band to continue their upward trajectory.In 2009 Camera Obscura signed a worldwide deal with feted indie 4AD, in a move that some fans felt a perfect match and "My Maudlin Career" was released on April 20th.
The lights went up yesterday at Burberry's New York headquarters at 444 Madison Avenue, one of only six such signage locations in the entire city and as such a prominent part of the iconic Manhattan skyline. To mark the auspicious occasion, Mayor Bloomberg declared 28 May "Burberry Day", with 20 per cent of all purchases made at the brand's two stores going to the Burberry Foundation, which helps young creatives realize their dreams. Two new stores will be opening either side of the NY HQ in October.
Karl Lagerfeld, creative director of Chanel, has designed an exclusive costume for the 'The Dying Swan' as part of the English National Ballet's forthcoming 'Ballets Russes' season at Sadler's Wells theatre in London. This year marks the centenary of the first performance by Serge Diaghilev's ballet at the Théâtre du Châtelet in Paris. The costume has been specially created for English National Ballet’s Senior Principal dancer, Elena Glurdjidze, who will wear the design for her performance of 'The Dying Swan'. During her final fitting, she danced 'The Dying Swan' for Karl, who filmed the performance himself, a sneak preview of which is above.
Curated by Tânia Cypriano.Every Friday, 6pm until July 24
Négritude, an experimental multi-disciplinary exhibition at Exit Art, explores the visionary 20th century political and artistic movement of the same name — coined by the Martinican poet, playwright, and politician Aimé Césaire in the 1930s — which flourished among Black intellectuals in post-World War I Paris and later spread to Africa, the United States and the Caribbean. This exhibition seeks to define Négritude as an “archipelago”, with many “islands”, or perspectives. Négritude is an idea that developed in distinct ways in different countries due, in part, to language, culture, and the political climate. Exit Art — to reflect this diversity and to offer varying perspectives — invited four other individuals to organize this project in collaboration.
The Brazil section of the exhibition Négritude is created around a program of documentary films and videos. Films are able to capture the face of reality as it is being lived, and Afro-Brazilian expressions of Négritude are “alive.” The Brazil section of the Négritude exhibition will explore the country’s identity from the point of view of peoples who live in the light of the past, not its shadow.
Michael Haneke’s “The White Ribbon,” a stark, black-and-white drama set in a rural German village on the eve of WWI, received the Palme d’Or from the jury of the 62nd Cannes Film Festival. Haneke, who had previously won the director award for “Cache” (2005) and the Grand Prix for “The Piano Teacher” (2001), received his first Palme from a visibly delighted Isabelle Huppert, president of the jury.
Endowments have shrunk everywhere, and sizable budget cuts have been the rule at museums in Atlanta, Baltimore, Denver, Detroit, Indianapolis, Los Angeles, Philadelphia and San Diego. In February the 35-year-old Las Vegas Art Museum simply gave up and shut its doors for good. In the world of performing arts, the news has been just as bleak. All around the country, orchestras, opera houses, theater troupes and dance companies are cutting salaries, jobs and programs. A few have simply collapsed.
The Obamas are sending ripples through the art world as they put the call out to museums, galleries and private collectors that they’d like to borrow modern art by African-American, Asian, Hispanic and female artists for the White House. In a sharp departure from the 19th-century still lifes, pastorals and portraits that dominate the White House’s public rooms, they are choosing bold, abstract art works. The overhaul is an important event for the art market. The Obamas’ art choices could affect the market values of the works and artists they decide to display. Museums and collectors have been moving quickly to offer up works for inclusion in the iconic space. Their choices also, inevitably, have political implications, and could serve as a savvy tool to drive the ongoing message of a more inclusive administration. The National Gallery of Art has loaned the family at least five works this year, including “Numerals, 0 through 9,” a lead relief sculpture by Jasper Johns, “Berkeley No. 52,” a splashy large-scale painting by Richard Diebenkorn, and a blood-red Edward Ruscha canvas featuring the words, “I think maybe I’ll…,” fitting for a president known for lengthy bouts of contemplation. The Jasper Johns sculpture was installed in the residence on Inauguration Day, along with modern works by Robert Rauschenberg and Louise Nevelson, also on loan from the National Gallery.