Uncategorized, visual art

Stefan Beauvais Solo Exhibition

art

Stefan Beauvais Solo Exhibition opens May 9 6-9PM.  The exhibition runs May 9 – 18.

at 3Squared Gallery

157 West 24th Street, Chelsea, New York 10016

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Uncategorized, visual art

Making Space: Women Artists and Postwar Abstraction

Starr Figura
Curator, Department of Drawings and Prints The Museum of Modern Art

&

Sarah Hermanson Meister
Curator, Department of Photography The Museum of Modern Art

212.1977
Lee Krasner (American, 1908–1984). Gaea. 1966. Oil on canvas, 69″ x 10′ 5 1/2″ (175.3 x 318.8 cm). The Museum of Modern Art, New York. Kay Sage Tanguy Fund, 1977 © 2017 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

Making Space spotlights the stunning but still under-recognized achievements of women artists between the end of World War II and the onset of the Feminist movement in the late 1960s. Drawn entirely from the Museum’s collection and featuring a diversity of media, this exhibition explores the remarkable range of abstract styles that took hold internationally during these decades, a time when women artists attempted to make space for themselves in a largely male-dominated art world.

261.1983

Eva Hesse (American, born Germany. 1936–1970). Untitled. 1966. Enamel paint and string over papier-mâché with elastic cord, Overall approximately 33 1/2 x 26 x 2 1/2″ (85 x 65.9 x 6.4 cm). The Museum of Modern Art, New York. Ruth Vollmer Bequest, 1983. © 2017 Estate of Eva Hesse.  Galerie Hauser & Wirth, Zurich

 

Eccentric Abstraction

In the 1960s, women artists were among the key pioneers of a new direction for abstraction that emphasized unusual materials and processes. This new tendency was first identified by the critic and art historian Lucy Lippard, who organized the 1966 exhibition Eccentric Abstraction for New York’s Fischbach Gallery. Two of the artists in this section, Louise Bourgeois and Eva Hesse (American, born Germany. 1936–1970), were included in that exhibition.

 

646.1997

Yayoi Kusama (Japanese, born 1929). No. F. 1959. Oil on canvas, 41 1/2 x 52″ (105.4 x 132.1 cm). The Museum of Modern Art, New York. Sid R. Bass Fund, 1997. © 2017 Yayoi Kusama

 

398.1963

Lee Bontecou (American, born 1931). Untitled. 1961. Welded steel, canvas, black fabric, rawhide, copper wire, and soot, 6′ 8 1/4″ x 7′ 5″ x 34 3/4″ (203.6 x 226 x 88 cm).The Museum of Modern Art, New York. Kay Sage Tanguy Fund, 1963. © 2017 Lee Bontecou

The Museum of Modern Art, 11 West 53 Street, New York, NY 10019

April 15–August 13, 2017
Floor three, Exhibition Galleries

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Uncategorized, visual art

Amour Fou

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Marion Cotillard plays an unapologetic afflicted misfit in 1950’s France, seeking a cure in the swiss alps.  A tragic romance ensues with a shut-in lieutenant (Louis Garrel).  From the bizarre trip inside the delusional mind of a lunatic, it becomes evident: her suffering can’t be helped.

From the Land of the Moon / Mal de pierres
Nicole Garcia, France/Belgium/Canada, 2016, 116m
French and Spanish with English subtitles

 

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Uncategorized, visual art

Rose Hartman, Incomparable by name

Rose was there. Somewhere between Bill Cunningham and Weegee she planted herself, sure and stout.

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Bianca Jagger at Studio 54 1977 by Rose Hartman

Not afraid to speak her mind, Rose is unfazed by anyone’s power, she rather takes it in.

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Anna Wintour photographed by Rose Hartman

Just when things appear dull, Rose draws you near her and she tells you something sensational in a hushed whisper.

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Models Backstage at Donna Karan photographed by Rose Hartman

Rose captures the moment without disrupting it, because she is an integral part of it.

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From INCOMPARABLE COUPLES photo by Rose Hartman

The vibrance, joy, opulence, and electricity in the images are the current that runs through her and her lens.

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Andy Warhol and Lou Reed photographed by Rose Hartman. 

Rose was everywhere I wished I could’ve been.  All the places I just heard or read about or saw in magazines.

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Rose lives the dream and in photos it seems sweet and beautiful.  What’s most impressive is she has so much to show for being there, the stunning work she did.

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Otis and Rose

The fact that she and her work endures gives restorative energy to those who hoped but were beaten down by adversity, shunned by the precarious uncertainty of an artist’s life, and plagued with self-doubt. Here is a woman who can show you how to grab life by the lens.

Experience a closer look at Rose and her work in the documentary The Incomparable Rose Hartman which premieres tomorrow at DOC NYC.

http://www.docnyc.net/film/the-incomparable-rose-hartman/

 

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Uncategorized, visual art

Manus, Machina, Matrimonium

In the statement issued by Conde Nast, the Metropolitan Museum Costume Institute Manus x Machina “exhibition showcases the traditionally opposing roles of hand and machine in the creation of haute couture and avant-garde ready-to-wear and explores the unification of the two through the evolution of technology.” When entering within the cathedral setting, and considering the heavy-handed selection of couture wedding gowns in this exhibition, you almost feel as if there is a rushed marriage occurring between Apple and Conde Nast.

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Exhibition entryway, House of Chanel (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Wedding Ensemble Autumn/winter 2014-15, haute couture Courtesy of CHANEL Patrimoine Collection. 

The stunner, pictured above, when observed in profile: an extra-long train balances the proportions of what can only be described as Rotund silhouette.  Hushed whispers at the first viewing of this exhibition were wondering, was the bride expecting?

What I have to wonder is, how is there an entire wing of the museum dedicated to fashion and its history, yet in the United States we still cannot acknowledge that the works of these designers should be protected as their own highly valuable intellectual property?

Roman Historian Sondra Rapoport’s response to viewing the exhibition was that it “brought to light the complete circle that is the relationship between fashion and history. Long has fashion been an essential piece of the power of imagery. Use of color, quality of materials, level of detail has long been an indicator of power and prestige.”

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Mary McFadden (American, born 1938) Dresses 1908-1987 “Marii” machine-pleated, hand-stitched with hand-embroidered panels of polychrome sequins.

Rapoport says of the above pictured Mary McFadden dresses, “I was particularly interested to see fashion embracing both the past and the future. I saw dresses designed to resemble 12th century court wear.  Created using modern materials and methods, but keeping the traditional styling and therefore its connection to its history and its former significance.”

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House of CHANEL (French, founded 1913) Karl Lagerfeld (French, born Hamburg, 1938) Wedding Ensemble. Autumn/winter 2005-6, haute couture Courtesy of CHANEL Patrimonies Collection.

Powerful as the the clothing exhibited may be, who has the ultimate upper hand in the overarching relationship? Why does a would-be blushing bride have tears in her eyes? Apple’s sponsorship statement says “Ultimately, it is the amount of care invested in the craftsmanship, whether machine-made or hand-made, that transforms ordinary materials into something extraordinary.”  That sounds nice; however, I would like to add that if technology continues to overpower creatives by disseminating the designers’ work without any legal recourse, together we are witnessing in real life, how, what could have been a lasting marriage ends tragically.

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Uncategorized, visual art

Get Love

By Noel Hartman

There’s something both subtle and overt about the newest work from perfomative sculptor Cat Chow, on display now until March 30th at “I Love You Bedford” in Williamsburg. For instance, “Passive/Aggressive,” the elegant arm’s length “gloves” linked together from strands of wire and chain over porcelain found-object hands into a webbing that barely conceals the arm yet calls conspicuous attention to only one very impolite finger.

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Installation View, “shoe me the dove right meow” at I Love You Bedford

This is the kind of provocation in which Chow specializes, mixing noirish sexuality and refinement with a vulgar gesture of defiance. Chow, whose residency — “9 Lives” — will be on display next year at Philadelphia’s Fabric Workshop and Museum, offers us a pinch of seduction with a wallop of satire. That’s the central tension in her work, and it’s very much in keeping with the Dada spirit that inspires Chow, whose work is also on display in the permanent collection at the Metropolitan Museum of Art. Found objects spring to life in a kind of militarized feminine form with her dress, which is also currently on display at “I Love You Bedford.”

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passive/aggressive series 2016 Porcelain, wire, chain

The dadaists, whose hundredth anniversary is being celebrated around the world this year, strove to attain a state of creative detachment that re-conceived the very idea of art and even pursued modes of anti-art in their revolt against bourgeois society. With its chain-mail vest made of brass and skirt of venetian blinds, Chow’s “Dada” reassembles found objects and offers testimony to Dada as the biggest influence on the development of modern art in the 20th century.

Chow’s reckoning with Dada also comes out in her “Exquisite Corpse,” which looks like a kind of transparent glass hope chest containing a pile of crushed bird feathers, the hands of discarded mannequins and a heart-shaped pillow with enough heavy embroidery to remind one of what a burden love is.

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Chemise 1999 Plastic, brass

Chow’s mathematical, minimalist aesthetic has made her a favorite of collectors for more than twenty years, often because her subtly subversive humor appeals to the thinking side of one’s fashion sense. 

One added benefit of the current exhibition — entitled “shoe me the dove right meow” — is that it also functions as a kind of career retrospective and features many significant works by Chow, such as the iconic “Not for Sale,” a slinky, form-fitting evening gown woven from a thousand shredded dollar bills. (Behind the dress, you’ll find an honor roll of the thousand benefactors who each gave Chow a dollar bill to create the dress.)

The chain-mail formation is one that Chow mastered early in her career and put to good use in many other instances, including a chain-mail dress that was made of Mighty Morphin’ Power Ranger trading cards. The Power Ranger dress and others, including a hausfrau gown made entirely of 1950s era tape measure, let Chow show off her prowess for subverting and toying with conventional notions of femininity, often with unsettling effects.

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Exquisite Corpse (detail) 2015 Mixed media

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Exquisite Corpse 2015 Mixed media

Perhaps the most famous of her works, the zipper dress looks sleek, sharp and light, but it is also made entirely of zippers. One cannot help being in awe of its aesthetic achievement, just as one cannot avoid the impression that only a harshly Victorian tolerance for pain would ever allow a living woman to wear it.


For a little relief from all those harsh lines — you can turn to the high-concept and lush collection of sustainable fashion designer Alisha Trimble, whose “Blanche DuMois” line of lingerie provides a complementary foundation for all those shackles of chain-mail brass and plastic.

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9 Lives 1993-2016 Brass, plastic, rewound tape

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