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Michael Jang: JANG
19 hours ago
Showing posts with label Brooklyn. Show all posts
Showing posts with label Brooklyn. Show all posts
Thursday, July 9, 2009
Xto Nude Image Awards
Photo- Laura at Evelyn's by Sarah Small
I told you folks SEX SELLS!
It is in the air and all over, we are even on Full Moon...Awuuuu!!!!
In this case this is done tastefully and without demeaning any gender or sex itself!
Congratulations Sarah Small Winner of the Fine Art Photography Category!
Sunday, June 7, 2009
2009 Bushwick Biennial
Ok...well for some reason every time I leave Manhattan, I am lost!
Also at NURTUREart , the photos of Jason Falchook
For those who no hablo espanol, what the sign says is ''WE NEED YOUNG WOMEN FOR FRIDAYS AND SATURDAYS''
So when I got invited for a VIP tour of the new Bushwick Biennial in Brooklyn NYC with limousine and flowing champagne...I said why not?
Never been in Bushwick before and since I can't afford (we are all poor now!)The Venice Biennial this year, might as well check out the local Biennial. The limo(a very Miami Vice white stretched Hummer) was full with curators, art collectors, dealers and yours truly. Sipping champagne and looking over the graveyard tombstones over the expressway in Queens, I thought... oh boy this does not beat a ride on a gondola in Venice but, at least I would not get lost!
The Bushwick Biennial has ways to go but, like Rome or Venice they were not built in a day...
Yeah...this was the limo!
Sustained (ghetto style) Fabulousness inside the Stretched Hummer Limo-Hilarious!
Here is a detail of Meg Hitchcock piece
At NURTUREart a Non-Profit Gallery, the work of Meg Hitchcock caught my eye. She cuts out very small letters of the Koran and the Bible and forms (holy text on paper) images and phrases with them. Very interesting. She was written up in ART in America in 2001.
Also at NURTUREart , the photos of Jason Falchook
Fill 2006
Now Folks this was worth my trip over. I strayed for a bit because the area is worth a million photos. Need to go back with my limo..errrr... my bicycle and explore the area. I found this one in a bar window and I think it is just hysterical!
For those who no hablo espanol, what the sign says is ''WE NEED YOUNG WOMEN FOR FRIDAYS AND SATURDAYS''
Monday, May 25, 2009
Vintage Violence Group Show 5/29/09
Friday 5/29/09 night in Brooklyn!
Curated By John Gauld
Group Show featuring 16 artists. Exhibit runs from May 29 through June 22.
Opening reception: Friday, May 29 6-9pm
Participating artists:
Elizabeth Albert
Danny Balgley
Joe Borelli
Matthew Fisher
John Gauld
Graham Guerra
Steve Hellerstein
Paul Jacobsen
Bettina Magi
Norm Paris
Shane Ruth
Scott Sjobakken
Jennifer Viola
Robin Williams
J.G. Zimmerman
Jennifer Zackin
www.space414.com
Group Show featuring 16 artists. Exhibit runs from May 29 through June 22.
Opening reception: Friday, May 29 6-9pm
Participating artists:
Elizabeth Albert
Danny Balgley
Joe Borelli
Matthew Fisher
John Gauld
Graham Guerra
Steve Hellerstein
Paul Jacobsen
Bettina Magi
Norm Paris
Shane Ruth
Scott Sjobakken
Jennifer Viola
Robin Williams
J.G. Zimmerman
Jennifer Zackin
www.space414.com
Monday, May 11, 2009
NY PHOTO FESTIVAL 2009
I am really looking forward attending the NY Photo Festival this year. The goal of the New York Photo Festival is to document the future of photography in all its forms. A group of internationally-respected curators will deliver their personal vision of the newest and most important trends in contemporary photography, each exhibited in their own pavilion and promising to draw the attention of the entire photographic community.
Last year in its debut the NY Photo Festival made quite a splash and excitement in the Art community. There was a lot of new techniques, a fresh approach, new vocabulary and talent shown, providing the most emerging photography of the moment. To me that is what makes a festival successful. Make sure to be part of the festival, visiting DUMBO , enjoying also the beauty of the neighborhood and the stunning city views that its surroundings provide.I you see me, say hello.I will be there every day covering the NY Photo Festival.
See you there!
http://www.nyphotofestival.com
Last year in its debut the NY Photo Festival made quite a splash and excitement in the Art community. There was a lot of new techniques, a fresh approach, new vocabulary and talent shown, providing the most emerging photography of the moment. To me that is what makes a festival successful. Make sure to be part of the festival, visiting DUMBO , enjoying also the beauty of the neighborhood and the stunning city views that its surroundings provide.I you see me, say hello.I will be there every day covering the NY Photo Festival.
See you there!
Also The Aperture Foundation is affiliated with the NY Photo Festival and has a series of events listed below:
“Artist-Publisher: Mass Produced for Mass Dissemination”
Thursday, May 14, 5–6 pm
“The Edge of Vision: Abstraction in Contemporary Photography”
Friday, May 15, 5–6 pm
“Cuddle (with Bill Hunt)”
Saturday, May 16, 5–6 pm
“Photography After Frank, A Conversation Between Philip Gefter and Andy Grundberg”
Sunday, May 17, 5–6 pm
Free with Festival Admission
St. Ann's Warehouse
38 Water Street
Brooklyn, New York
(718) 254-8779
--------------------
Party and Book Signing at powerHouse arena with Aperture artists:
Thursday, May 14, 9:00 pm
New York Photo Festival Headquarters
37 Main Street
Brooklyn, New York
(347) 853-7447
View related events
Visit the Aperture website
www.aperture.org
Sunday, March 15, 2009
A fun Night in Brooklyn- Sarah Small: Tableau Of Delirium Constructions
ARTmostfierce had a blast last night in Brooklyn starting by stopping @ artist Sarah Small live performance show tilted Sarah Small: Tableau Of Delirium Constructions @ the Jewel Studios in Greenpoint, Brooklyn. It was a pretty interesting and cool performance and most of the performers were naked ! Yeah!
Her performance show had performers of various sex, age, race and sexual preference. Imagine Vanessa Beecroft gone global not only women but, people from all walks of life. A few of them were clothed and the interaction of all them was just fascinating. Tasty drinks, sushi and great crowd made this event a great night to say Ciao Manhattan!
I had the pleasure of seen Sarah's photographs during Critical Mass 2008 as a juror and then , she was one of my fifty picks. Sarah also happens to be one of the artists featured in the new just released Humble Art Foundation Collectors Guide of Emerging Art Photography. I believe we are going to see much more of Sarah so, keep and eye on her and check her interesting and experimental photography work.
As for me, I am discovering a new world , more of Brooklyn, meeting the nicest and talented people and doing some personal exploring of my own. Special thanks to my friend artist John Gauld for providing his i-phone for the photos(yeah no camera with me again!) and his hospitality!
Hello Brooklyn...Ciao Manhattan!
Saturday, February 21, 2009
The Current State of the ART Market Series # 9- Melanie Flood- Photographer and Owner of Melanie Flood Projects
Photo-Melanie Flood- The Perfect Hostess @ the Bradley Peters Home Theater Opening
This is installment #9 of The Current State of the ART Market Series .
RNSM- What is the advantage of it? Disadvantages?
MF-I am not affected by the immense overhead of having a gallery space.
Because I don't have to worry about rent, making money is not at the
forefront of my mind, this frees up the types of art I show. I also
get to display art in my most favorite way-among domestic life, my own
personal decorations. It's like a revolving art collection! Another
advantage is being able to have many styles of events other than
showing art on walls. One example was a party in December where I
invited 17 artists to come over for one evening and sell their wares;
books, mags, zines, prints, etc…
The disadvantage is obviously that this is a private residence that I
share with my husband, so during receptions we're opening our home to
the public, which can be frightening at first. People sloshing around
with their dirty boots, glasses' overflowing with wine, things can be
damaged or stolen. As well, having complete strangers wanting to see
the show after the reception. It could be viewed as unsafe to be here
alone with someone I don't know. That's where Google comes in.
Also, our apartment always must be clean in case of last minute appointments!
RNSM- With several Art Galleries closing nowadays ...do you see your
business template as an adequate and affordable response and possible
art market solution to continue art dealing?
MF-Yes, absolutely, but making one's private space public is not for
everyone. You have to be a bit more laid back to open your home. The
space also needs to be welcoming and able to accommodate crowds of
visitors. In this relaxed environment I feel that I have been able to
facilitate & encourage dialogue between viewers, artists, and
gallerists.
RNSM- How do the artists that you represent feel about this business template?
MF-I have all kinds of artists contacting me who want to be a part of
this salon revolution that is taking place. This must mean that
artists find it appealing, and they're willing to take a chance on
their work in alternative venue. Artists who ordinarily sell prints
for $800, are making limited edition magazines so they can be included
in my events, they're having fun with their work, taking it a little
less seriously. I really love this aspect of Melanie Flood Projects.
RNSM- You are based in Brooklyn...Other than the fact that a great number
of artists live there ...how about art collectors?
MF-Everyone I know that lives in Brooklyn collects art. It may not be
fine art photography, it may be more folk art, or paintings, but I
think there is a great respect and interest for all kinds of art in
Brooklyn.
RNSM- Is your business more beneficiary of on line services than lets say
appointments and foot traffic?
MF-I get the word out about shows, events, openings, and submissions
online. If it weren't for Facebook I think it would be more difficult
to reach such a wide audience. With that said, my website is just an
information portal. I do not treat it as a place for people to view
the work. I rely on the opening reception, then appointments for
people to really experience my concept. There's no foot traffic
because the house does not appear to be a public gallery from the
outside.
RNSM- How do you feel towards the Current State of The Art Market now?
Any suggestions for other art dealers? Artists?
MF-I realize that the art market is suffering greatly and much less
business is being done everywhere. But to look on the bright side this
forces artists, gallerists, collectors to look to alternative venues,
and emerging artists. I'm strictly into showing work that I believe
in, and that I want people to see. I'm not sure if other dealers are
doing it for that reason. Perhaps some people out there are in it for
the money, but I am realistic, and know that this is not the business
to make money in- at least not at this point. Maybe after I've been
doing this for ten years I'll have more experience and some advice for
other art dealers.
My advice for emerging artists is to not worry so much about selling
your work. Just focus on making quality work. Get into group shows,
publications, collaborate with friends, & find your voice.
If asked while an undergrad student at the School of Visual Arts if
I'd be a curator or an art dealer I would've scoffed. But when I
graduated and took a position at Zing magazine, curating a project was
part of my job description. I was terrified! I loved Todd Hido's
photographs at this time, so I contacted him and asked if I could
curate a project of his work. To my delight he said yes. Then again I
pushed through preconceptions about myself, & curated another, of
Jenny Holzer's work. I believe that being open-minded, & well rounded
has helped me flourish.
RNSM- You are also an art collector, has your collecting ways slowed down?
MF-I'm not purchasing any items right now, not really because of the
economy, but because I've made many smaller acquisitions over the past
two years that need to be properly framed, so I'm more concerned with
showcasing that work than adding more.
RNSM-. You are also a photographer; tell us about your work.
Photos- Photographer Melanie Flood
MF-I've never been able to tell anyone what I photograph when asked, I'm
just getting used to the idea of saying I began taking photographs in
1989 & that I'm obsessed with recording my life, my memories, and
surroundings. I'm photographing what exists in front of me. I do not
search for projects, or meanings, or ideas. I see it, I like it, and I
photograph it. I miss this simplicity in photography. Everything is
about the project right now. I was bothered for a while that my work
wasn't that way, and because of this, I recently stopped looking at
other young artists work-in comparison to my own. I have a tendency to
lose my vision while viewing my peers' work. I'm taking photos for
myself at this time, getting back to what makes me love photography so
much instead of focusing on outsider recognition for my work.
When I'm not taking pictures, I'm organizing a collection of nearly
10,000 family photographs beginning from about 1930. Separately, but
ultimately I imagine it will all come together, are photographs
beginning in the year of my birth, 1979 to the present, taken by
myself and members of my family.
RNSM- Do you include your work in some of your shows?
MF-I am asked this question frequently, and I never do display my work at
any of the shows. I also remove any of my photographs that are hanging
because I'm not trying to further my career as an artist on the
shoulders of whom I am showing. When I have an event its about the
artists, not myself.
RNSM- Has your choices of work, artists, pricing and theme shows has
changed due to the current climate that we are experiencing?
MF-My choice of artists never has to do with pricing, or themes. I see an
artist I like; I contact them, that's it. Whether their work sells
for $100, $1000 or $5000 it is irrelevant to my project.
RNSM- Right now you have Home Theater by Bradley Peters on display,
which I think it is a pretty good show, and had a good reception
opening...Who is next? Why?
MF-Thank you. I find his photographs incredibly compelling. I'm always
surprised by a new detail every time I walk past them. It really is
quite the luxury to have such a talented artist showcased in my home.
Uninstalling them will be a sad day.
The next event will be held in Mid-March, another one night party with
items prices at $100 or less. Without giving all the fun away, a few
participants' include Jason Polan, Stephen Wong, Grace Kim, &
Elizabeth Fleming -painters, photographers, zinesters, magazines,
fashion designers- it's a mish mosh of talented people that I'm really
excited to support & showcase.
After March I don't have anything planned. I like to keep the schedule
open, wait until I feel inspired. I also have a serious case of
wanderlust, so that really is what comes first.
RNSM- Any final thoughts?
MF-New York will always have a vibrant art scene regardless of the
economy. I'm optimistic about the future of the art world, & very
proud to be part of such an exciting time in New York.
This is installment #9 of The Current State of the ART Market Series . Artmostfierce had a chance to see for himself first hand what Melanie Flood Projects is all about. Melanie Flood is a photographer and her gallery concept @ Melanie Flood Projects is a good vision of what most art dealers will end up doing due to the current economic turbulence going on right now,causing a lot of gallery closings. Let's see what Melanie can tell us about it.
RNSM- Please explain to us about Melanie Flood Projects...How did it
start it? Why in your house?
MF-I began Melanie Flood Projects over the Summer of 2008 because I felt
that artists and photographers (like myself) needed a new style of
venue to showcase their art. I was tired of it being utterly
impossible for a young, talented artist to display their work, other
than online or in crowded group shows that require a participation
fee.
The Idea came to me when I was in the position of Managing Editor at
Zing magazine. We were involved in Art Chicago 2002 and while visiting
I came across stay at home mothers that ran public galleries from
their homes. These women were artists, curators, collectors, and they
didn't allow motherhood prevent them from being involved with what
they loved. I was influenced most by a young woman who had Amy Sillman
watercolors displayed on her fridge with magnets. Made me think
differently about he way art should and could be displayed.
So based on the inspiration from these women, I decided to base the
gallery from my home and I am fortunate enough to live in a lovely
brownstone in a great part of Brooklyn. I am also drawn to the idea of
the home as a social hub apart from public spaces such as bars, clubs,
galleries, & cafes.
RNSM- In my opinion you are pioneering the new resurgence concept of private dealing
@ home...Is there a reason why?
MF-I believe that in the environment of a gallery or museum the real
importance of the artist is lost in the pressures of the "gallery"
experience. By removing that factor I believe I am placing all the
emphasis on the artist, using the comfortable and welcoming
environment of a living space to ease viewers. I hope that in inviting
people to view art in these circumstances, where art eventually ends
up, will remove the formal pressures of the "art world" and will help
people focus on art in it's most natural state or form.
RNSM- Please explain to us about Melanie Flood Projects...How did it
start it? Why in your house?
MF-I began Melanie Flood Projects over the Summer of 2008 because I felt
that artists and photographers (like myself) needed a new style of
venue to showcase their art. I was tired of it being utterly
impossible for a young, talented artist to display their work, other
than online or in crowded group shows that require a participation
fee.
The Idea came to me when I was in the position of Managing Editor at
Zing magazine. We were involved in Art Chicago 2002 and while visiting
I came across stay at home mothers that ran public galleries from
their homes. These women were artists, curators, collectors, and they
didn't allow motherhood prevent them from being involved with what
they loved. I was influenced most by a young woman who had Amy Sillman
watercolors displayed on her fridge with magnets. Made me think
differently about he way art should and could be displayed.
So based on the inspiration from these women, I decided to base the
gallery from my home and I am fortunate enough to live in a lovely
brownstone in a great part of Brooklyn. I am also drawn to the idea of
the home as a social hub apart from public spaces such as bars, clubs,
galleries, & cafes.
RNSM- In my opinion you are pioneering the new resurgence concept of private dealing
@ home...Is there a reason why?
MF-I believe that in the environment of a gallery or museum the real
importance of the artist is lost in the pressures of the "gallery"
experience. By removing that factor I believe I am placing all the
emphasis on the artist, using the comfortable and welcoming
environment of a living space to ease viewers. I hope that in inviting
people to view art in these circumstances, where art eventually ends
up, will remove the formal pressures of the "art world" and will help
people focus on art in it's most natural state or form.
Photos-'' Mi casa es su casa'' Photos of Melanie Flood Home where exhibitions take place. Current show shown is Home Theater by Bradley Peters
RNSM- What is the advantage of it? Disadvantages? MF-I am not affected by the immense overhead of having a gallery space.
Because I don't have to worry about rent, making money is not at the
forefront of my mind, this frees up the types of art I show. I also
get to display art in my most favorite way-among domestic life, my own
personal decorations. It's like a revolving art collection! Another
advantage is being able to have many styles of events other than
showing art on walls. One example was a party in December where I
invited 17 artists to come over for one evening and sell their wares;
books, mags, zines, prints, etc…
The disadvantage is obviously that this is a private residence that I
share with my husband, so during receptions we're opening our home to
the public, which can be frightening at first. People sloshing around
with their dirty boots, glasses' overflowing with wine, things can be
damaged or stolen. As well, having complete strangers wanting to see
the show after the reception. It could be viewed as unsafe to be here
alone with someone I don't know. That's where Google comes in.
Also, our apartment always must be clean in case of last minute appointments!
RNSM- With several Art Galleries closing nowadays ...do you see your
business template as an adequate and affordable response and possible
art market solution to continue art dealing?
MF-Yes, absolutely, but making one's private space public is not for
everyone. You have to be a bit more laid back to open your home. The
space also needs to be welcoming and able to accommodate crowds of
visitors. In this relaxed environment I feel that I have been able to
facilitate & encourage dialogue between viewers, artists, and
gallerists.
RNSM- How do the artists that you represent feel about this business template?
MF-I have all kinds of artists contacting me who want to be a part of
this salon revolution that is taking place. This must mean that
artists find it appealing, and they're willing to take a chance on
their work in alternative venue. Artists who ordinarily sell prints
for $800, are making limited edition magazines so they can be included
in my events, they're having fun with their work, taking it a little
less seriously. I really love this aspect of Melanie Flood Projects.
RNSM- You are based in Brooklyn...Other than the fact that a great number
of artists live there ...how about art collectors?
MF-Everyone I know that lives in Brooklyn collects art. It may not be
fine art photography, it may be more folk art, or paintings, but I
think there is a great respect and interest for all kinds of art in
Brooklyn.
RNSM- Is your business more beneficiary of on line services than lets say
appointments and foot traffic?
MF-I get the word out about shows, events, openings, and submissions
online. If it weren't for Facebook I think it would be more difficult
to reach such a wide audience. With that said, my website is just an
information portal. I do not treat it as a place for people to view
the work. I rely on the opening reception, then appointments for
people to really experience my concept. There's no foot traffic
because the house does not appear to be a public gallery from the
outside.
RNSM- How do you feel towards the Current State of The Art Market now?
Any suggestions for other art dealers? Artists?
MF-I realize that the art market is suffering greatly and much less
business is being done everywhere. But to look on the bright side this
forces artists, gallerists, collectors to look to alternative venues,
and emerging artists. I'm strictly into showing work that I believe
in, and that I want people to see. I'm not sure if other dealers are
doing it for that reason. Perhaps some people out there are in it for
the money, but I am realistic, and know that this is not the business
to make money in- at least not at this point. Maybe after I've been
doing this for ten years I'll have more experience and some advice for
other art dealers.
My advice for emerging artists is to not worry so much about selling
your work. Just focus on making quality work. Get into group shows,
publications, collaborate with friends, & find your voice.
If asked while an undergrad student at the School of Visual Arts if
I'd be a curator or an art dealer I would've scoffed. But when I
graduated and took a position at Zing magazine, curating a project was
part of my job description. I was terrified! I loved Todd Hido's
photographs at this time, so I contacted him and asked if I could
curate a project of his work. To my delight he said yes. Then again I
pushed through preconceptions about myself, & curated another, of
Jenny Holzer's work. I believe that being open-minded, & well rounded
has helped me flourish.
RNSM- You are also an art collector, has your collecting ways slowed down?
MF-I'm not purchasing any items right now, not really because of the
economy, but because I've made many smaller acquisitions over the past
two years that need to be properly framed, so I'm more concerned with
showcasing that work than adding more.
RNSM-. You are also a photographer; tell us about your work.
Photos- Photographer Melanie Flood
MF-I've never been able to tell anyone what I photograph when asked, I'm
just getting used to the idea of saying I began taking photographs in
1989 & that I'm obsessed with recording my life, my memories, and
surroundings. I'm photographing what exists in front of me. I do not
search for projects, or meanings, or ideas. I see it, I like it, and I
photograph it. I miss this simplicity in photography. Everything is
about the project right now. I was bothered for a while that my work
wasn't that way, and because of this, I recently stopped looking at
other young artists work-in comparison to my own. I have a tendency to
lose my vision while viewing my peers' work. I'm taking photos for
myself at this time, getting back to what makes me love photography so
much instead of focusing on outsider recognition for my work.
When I'm not taking pictures, I'm organizing a collection of nearly
10,000 family photographs beginning from about 1930. Separately, but
ultimately I imagine it will all come together, are photographs
beginning in the year of my birth, 1979 to the present, taken by
myself and members of my family.
RNSM- Do you include your work in some of your shows?
MF-I am asked this question frequently, and I never do display my work at
any of the shows. I also remove any of my photographs that are hanging
because I'm not trying to further my career as an artist on the
shoulders of whom I am showing. When I have an event its about the
artists, not myself.
RNSM- Has your choices of work, artists, pricing and theme shows has
changed due to the current climate that we are experiencing?
MF-My choice of artists never has to do with pricing, or themes. I see an
artist I like; I contact them, that's it. Whether their work sells
for $100, $1000 or $5000 it is irrelevant to my project.
RNSM- Right now you have Home Theater by Bradley Peters on display,
which I think it is a pretty good show, and had a good reception
opening...Who is next? Why?
MF-Thank you. I find his photographs incredibly compelling. I'm always
surprised by a new detail every time I walk past them. It really is
quite the luxury to have such a talented artist showcased in my home.
Uninstalling them will be a sad day.
The next event will be held in Mid-March, another one night party with
items prices at $100 or less. Without giving all the fun away, a few
participants' include Jason Polan, Stephen Wong, Grace Kim, &
Elizabeth Fleming -painters, photographers, zinesters, magazines,
fashion designers- it's a mish mosh of talented people that I'm really
excited to support & showcase.
After March I don't have anything planned. I like to keep the schedule
open, wait until I feel inspired. I also have a serious case of
wanderlust, so that really is what comes first.
RNSM- Any final thoughts?
MF-New York will always have a vibrant art scene regardless of the
economy. I'm optimistic about the future of the art world, & very
proud to be part of such an exciting time in New York.
Wednesday, February 11, 2009
MoMA Displays Installation of Reproductions at Atlantic Avenue/Pacific Street Subway Station
MoMA Atlantic/Pacific subway project. Atlantic Avenue/Pacific Street subway station, Brooklyn. Credit: Jeff Baxter. © 2008 The Museum of Modern Art.
For those heading to Brooklyn via Atlantic Avenue /Pacific Street Subway Station...here is something (ART) to look at~!
MoMA Atlantic/Pacific is a large-scale installation of reproductions from The Museum of Modern Art’s renowned collection of modern and contemporary art, displayed in the Atlantic Avenue/Pacific Street subway station in Brooklyn from February 10 through March 15, 2009. The purpose of the underground communications campaign is to broaden awareness of MoMA’s collection and convey the affordable benefits of membership to local New York audiences.
58 Iconic Images
The station will be the site of some 58 reproductions from every segment of MoMA’s collection, including such iconic works as: Pablo Picasso’s Les Demoiselles d’Avignon, Vincent van Gogh’s The Starry Night, Claude Monet’s Reflections of Clouds on the Water-Lily Pond, Marcel Duchamp’s Bicycle Wheel, and Andy Warhol’s Campbell’s Soup Cans. Throughout the expansive station, subway commuters will view large-scale posters of drawings by Ed Ruscha; photographs by Cindy Sherman, Nan Goldin, and Andreas Gursky; architectural drawings by Frank Lloyd Wright and Mies van der Rohe; design objects by Charles and Ray Eames and William Morris; and media works by Doug Aitken, Pipilotti Rist, and Bruce Nauman.
The installation will be accompanied by:
• the launch of a customized project website (www.moma.org/atlanticpacific) that includes a map and guide to the works of art
• audio commentaries on selected works and information on MoMA membership that can be accessed by a toll-free phone number (888-939-MoMA)
• a free brochure distributed at street level on February 10 and 12 that will include a coupon for free admission to the Museum or a discount on membership
MoMA Atlantic/Pacific—known as a “station domination” campaign—is one in a series of innovative initiatives recommended by a new marketing advisory committee established by the Museum in January 2008. It was conceived by Doug Jaeger, CEO, Founder, thehappycorp global, and designed by Julia Hoffmann, MoMA’s Creative Director for Advertising and Graphics.
Not bad right?
For those heading to Brooklyn via Atlantic Avenue /Pacific Street Subway Station...here is something (ART) to look at~!
MoMA Atlantic/Pacific is a large-scale installation of reproductions from The Museum of Modern Art’s renowned collection of modern and contemporary art, displayed in the Atlantic Avenue/Pacific Street subway station in Brooklyn from February 10 through March 15, 2009. The purpose of the underground communications campaign is to broaden awareness of MoMA’s collection and convey the affordable benefits of membership to local New York audiences.
58 Iconic Images
The station will be the site of some 58 reproductions from every segment of MoMA’s collection, including such iconic works as: Pablo Picasso’s Les Demoiselles d’Avignon, Vincent van Gogh’s The Starry Night, Claude Monet’s Reflections of Clouds on the Water-Lily Pond, Marcel Duchamp’s Bicycle Wheel, and Andy Warhol’s Campbell’s Soup Cans. Throughout the expansive station, subway commuters will view large-scale posters of drawings by Ed Ruscha; photographs by Cindy Sherman, Nan Goldin, and Andreas Gursky; architectural drawings by Frank Lloyd Wright and Mies van der Rohe; design objects by Charles and Ray Eames and William Morris; and media works by Doug Aitken, Pipilotti Rist, and Bruce Nauman.
The installation will be accompanied by:
• the launch of a customized project website (www.moma.org/atlanticpacific) that includes a map and guide to the works of art
• audio commentaries on selected works and information on MoMA membership that can be accessed by a toll-free phone number (888-939-MoMA)
• a free brochure distributed at street level on February 10 and 12 that will include a coupon for free admission to the Museum or a discount on membership
MoMA Atlantic/Pacific—known as a “station domination” campaign—is one in a series of innovative initiatives recommended by a new marketing advisory committee established by the Museum in January 2008. It was conceived by Doug Jaeger, CEO, Founder, thehappycorp global, and designed by Julia Hoffmann, MoMA’s Creative Director for Advertising and Graphics.
Not bad right?
Tuesday, January 20, 2009
Brooklyn Academy Thinks Big, Despite All
ARTmostfierce is under the weather watching the inauguration of our new President Barak Obama. Today, I feel so proud of being American!
And speaking of Change and Hope, if this article written by ROBIN POGREBIN for the New York Times is a signal, demonstrating that forward thinking and the American spirit of battle and perseverance during this challenging economic times.
By ROBIN POGREBIN
Published: January 19, 2009
Even as cultural organizations across the city are contracting in a grim economic climate, the Brooklyn Academy of Music has embarked on a $300 million expansion effort that calls for a new theater, three or four spaces for screening films, new festivals for opera and Muslim culture and a shored-up endowment, officials say.
Karen Brooks Hopkins, president of the Academy, acknowledged that the move might seem surprising to donors and to struggling arts institutions.
“Announcing this campaign is not meant to be arrogant,” she said in an interview. “It’s meant to be thoughtful. We cut our budget by $1.4 million this year.” (Last year’s budget was $40 million.) “At the same time, we want to be forward-thinking.”
The five-year campaign, to be announced on Wednesday, actually started quietly last year, Ms. Hopkins said. More than half of the money — $160 million — has already been raised, including $22.5 million from the city and a $10 million gift from Jeanne Donovan Fisher, the widow of Richard B. Fisher, who served as chairman of the Academy’s endowment trust.
Ms. Hopkins acknowledged that the institution faced an enormous challenge, given the recent plunge in so many New Yorkers’ and corporations’ investment portfolios. “It’s going to be very hard; we have a huge job to do,” she said. “It’s a 5-year campaign, but it may take 10 years.”
But she added that the Academy had a list of potential donors that she had yet to approach. “Some of them will give, and some of them won’t,” she said, adding that the institution remained “committed and focused.”
The new 263-seat theater, planned for a former Salvation Army building next to the Academy, on Ashland Place in Fort Greene, will be named after Mr. Fisher and designed by the architect Hugh Hardy. Construction is to begin in the fall, with performances starting in 2012, the Academy said.
The plan reflects the Academy’s recognition of how essential the organization, founded in 1861, has become in recent years as an economic and cultural anchor for Brooklyn, and for Fort Greene in particular.
“BAM is so important to the success of the whole community,” Ms. Hopkins said. “When we are dark, the whole block starves.”
Ms. Hopkins said the institution was already one of the borough’s leading employers. The new building project would use 125 construction workers daily and involve more than 800 tradesmen. “That’s one of the reasons we’re doing this now,” she said. “The other reason is that history demands it in a certain way.”
For nearly a decade the city has been working to create a BAM Cultural District by converting vacant and underused properties in the area into spaces for arts organizations. The Theater for a New Audience, for example, is completing plans for a new home in the district, also designed by Mr. Hardy. A new building adjacent to the BAM Harvey Theater is to house UrbanGlass, a nonprofit center devoted to glass blowing, and BRIC, another nonprofit arts organization, which provides public access television and arts programming for the borough, including the Celebrate Brooklyn! summer concert series. That project is also to begin construction this year.
Joe Chan, president of the Downtown Brooklyn Partnership, which is overseeing the arts district’s development, said he thought the Academy’s new theater would play a critical role in advancing the district’s growth. “It will add a new type of venue which is smaller, less costly to operate and more accessible,” he said.
The Academy currently operates two stages, the Howard Gilman Opera House, which has about 2,000 seats, and BAM Harvey, which has 874.
“BAM needs a new, small, intimate, completely flexible theater that can respond to the art-making of the 21st century,” said Joseph V. Melillo, the institution’s executive producer. In addition to the theater auditorium, whose seats will be removable, the building is to include a large rehearsal space, classrooms, offices and a green roof. Much of the new complex has already been named after donors: the Peter Jay Sharp Lobby, the Judith R. and Alan H. Fishman Space, the Samuel H. Scripps Stage.
“The roof is not named yet, but hopefully it will be,” Ms. Hopkins said.
The Academy will use the theater for half the year. It will be available for rental to local organizations the rest of the year at subsidized rates, a policy made possible by a $2 million grant from the Independence Community Foundation, which supports development, education and the arts in Brooklyn. The Academy has organized a community council to develop a business plan to address neighborhood needs and provide technical assistance and training in areas like marketing.
The new film-screening spaces will be in another building in the district that has yet to be identified, Academy officials said. That space will also include room for exhibitions and events.
Read more about it:www.nytimes.com/2009/01/20/arts/music/20bam.html?pagewanted=2&_r=1&th&emc=th
Thursday, January 15, 2009
The New Factory: In Brooklyn, an Industrial Artists’ Colony
Clockwise from top left: one of the many alleyways at Industry City; Jarrod Beck in his studio; a view from the top of 882 Third Avenue, where future studios are being planned; Travis Boyer in the studio he shares with Donnie Cervantes.
(Photo: Dean Kaufman )
(Photo: Dean Kaufman )
Attention Artists!
Looking for affordable studio space?
The next up and coming cool neighborhood in NYC?
The Next Big Art Scene emerging from this economic recession?
Well ...here it is try Industry City in Brooklyn, NYC.
Looking for affordable studio space?
The next up and coming cool neighborhood in NYC?
The Next Big Art Scene emerging from this economic recession?
Well ...here it is try Industry City in Brooklyn, NYC.
Check out this article By Joshua David Stein of New York Magazine
The future of New York art smells like vanilla and resides on the Sunset Park waterfront in sixteen massive buildings called Industry City. The smell is courtesy of Virginia Dare, maker of food-flavor products, which has had a factory there since 1923. The bohemian spirit is from the 57 recently opened artist studios, the vast empty floors ready for avant-garde performance, and Lise Soskolne, a Bard-educated artist who happens to work for the landlord, Industry City Associates. Last year, Soskolne persuaded the landlords to carve out 45 “incubator” studios for emerging artists and twelve market-rate studios for more established ones out of the 6 million square feet of space left partially vacant by the dwindling maritime trade. If you build it, artists will come, she reasoned—and after them, perhaps, a deluge of new market-rate commercial clients.
The theory has precedent, of course. With miles of light-flooded warehouse space separated by heavy pillars, Industry City looks like a giant indoor version of Soho in the seventies, when artists such as Gordon Matta-Clark, Chuck Close, and Vito Acconci moved into the abandoned factory spaces of bygone manufacturers. Lured by spacious $422-per-month studios, artists are now discovering this neo-Soho on New York Bay. Nearly all of the incubator studios have been rented, and only three of the market-rate ones are available (although there are plans to create more). Incubator tenants include video and performance artist K8 Hardy, sculptor Jarrod Beck, and textile-based artists Travis Boyer and Donnie Cervantes. In the market-rate building (where rents are as low as $685 a month), you’ll find Paul Chan, who recently had a solo show at the New Museum; Sharon Hayes, the well-known performance artist; and Doug Ashford, a professor at Cooper Union.
“The really important part is that you are not working in a hotel room where you have a life that is separate from anywhere else,” says Beck. “It’s great to be invited into people’s studios and see what they’re doing.” Boyer, who recently invited his friends and neighbors to an indigo-dyeing party (45 people showed up), agrees: “There’s a community. This is where we’re going to work together and create stuff. It’s not completely defined yet, but there’s definitely a sense of group togetherness.” Bands of artists scour the empty floors, foraging for raw material. Every Tuesday, Thomas Beard and Ed Halter host an experimental-film-screening-and-lecture series called “Light Industry,” which is as much a loft party as it is a forum for, for instance, the work of avant-garde director James Benning (whose daughter Sadie has a studio here). “It’s really affirming about why we’re in New York and what it means to be an artist in New York,” says Boyer.
A small committee handpicks the artists who get studios. “All of the artists here are engaged politically and aware of what’s going on in the world,” Soskolne says proudly. She’s set up common spaces for artist interaction and has programmed events in some of the empty floors. (In August, she invited the Theatre of a Two-Headed Calf to perform a queer adaptation of Macbeth.) But for all their similarities, Industry City isn’t likely to go the way of Soho, or even Dumbo. Boxed in by the Bureau of Alcohol, Tobacco, Firearms, and Explosives on the north and a federal penitentiary to the south, the area isn’t zoned for residential development. That’s fine by Soskolne: “I don’t want to see the artists turfed out.”
The future of New York art smells like vanilla and resides on the Sunset Park waterfront in sixteen massive buildings called Industry City. The smell is courtesy of Virginia Dare, maker of food-flavor products, which has had a factory there since 1923. The bohemian spirit is from the 57 recently opened artist studios, the vast empty floors ready for avant-garde performance, and Lise Soskolne, a Bard-educated artist who happens to work for the landlord, Industry City Associates. Last year, Soskolne persuaded the landlords to carve out 45 “incubator” studios for emerging artists and twelve market-rate studios for more established ones out of the 6 million square feet of space left partially vacant by the dwindling maritime trade. If you build it, artists will come, she reasoned—and after them, perhaps, a deluge of new market-rate commercial clients.
The theory has precedent, of course. With miles of light-flooded warehouse space separated by heavy pillars, Industry City looks like a giant indoor version of Soho in the seventies, when artists such as Gordon Matta-Clark, Chuck Close, and Vito Acconci moved into the abandoned factory spaces of bygone manufacturers. Lured by spacious $422-per-month studios, artists are now discovering this neo-Soho on New York Bay. Nearly all of the incubator studios have been rented, and only three of the market-rate ones are available (although there are plans to create more). Incubator tenants include video and performance artist K8 Hardy, sculptor Jarrod Beck, and textile-based artists Travis Boyer and Donnie Cervantes. In the market-rate building (where rents are as low as $685 a month), you’ll find Paul Chan, who recently had a solo show at the New Museum; Sharon Hayes, the well-known performance artist; and Doug Ashford, a professor at Cooper Union.
“The really important part is that you are not working in a hotel room where you have a life that is separate from anywhere else,” says Beck. “It’s great to be invited into people’s studios and see what they’re doing.” Boyer, who recently invited his friends and neighbors to an indigo-dyeing party (45 people showed up), agrees: “There’s a community. This is where we’re going to work together and create stuff. It’s not completely defined yet, but there’s definitely a sense of group togetherness.” Bands of artists scour the empty floors, foraging for raw material. Every Tuesday, Thomas Beard and Ed Halter host an experimental-film-screening-and-lecture series called “Light Industry,” which is as much a loft party as it is a forum for, for instance, the work of avant-garde director James Benning (whose daughter Sadie has a studio here). “It’s really affirming about why we’re in New York and what it means to be an artist in New York,” says Boyer.
A small committee handpicks the artists who get studios. “All of the artists here are engaged politically and aware of what’s going on in the world,” Soskolne says proudly. She’s set up common spaces for artist interaction and has programmed events in some of the empty floors. (In August, she invited the Theatre of a Two-Headed Calf to perform a queer adaptation of Macbeth.) But for all their similarities, Industry City isn’t likely to go the way of Soho, or even Dumbo. Boxed in by the Bureau of Alcohol, Tobacco, Firearms, and Explosives on the north and a federal penitentiary to the south, the area isn’t zoned for residential development. That’s fine by Soskolne: “I don’t want to see the artists turfed out.”
Thursday, June 5, 2008
ARTmostfierce recommends that if you are not going to the at the beach this weekend, put on a pair of cool shades or a straw hat and cross (you can swim if you want) the river over to Brooklyn for the Atlantic Avenue ART walk. Click on link below for more info.
Enjoy!
http://atlanticavenueartwalk.com/home/
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