Posted on June 1, 2014
On Saturday, May 31st, Allen Ruppersberg and Constance M. Lewallen along with Jay Sanders, discussed ICI’s newest publication edited by the artist, the Allen Ruppersberg Sourcebook: Reanimating the 20th century to a packed crowd at 192 BOOKS in Chelsea.
Click here to order, or to learn more about the publication.
Posted on June 2, 2014
The Kingston, Jamaica-based arts organization NLS (New Local Space) recently hosted an online discussion with EN MAS’ curators Krista Thompson and Claire Tancons, participating artist Charles Campbell, collaborating artist Kemar Black, and public participant Natasha Levy. The discussion, moderated by Nicole Smythe-Johnson, revolves around the undertaking of the ambitious, interactive performance piece Fractal Engagement, which was a groundbreaking endeavor for Campbell’s artistic practice. NLS Founder and Director Deborah Anzinger has been instrumental in facilitating the performance as well as organizing this online event. Fractal Engagement will be included in the upcoming presentation of EN MAS’ at the CAC in New Orleans.
Continue listening to the full conversation here.
Posted on June 3, 2014
“The Shadows Took Shape” curated by Curatorial Intensive faculty Naima Keith reviewed by George Lewis on Artforum:
Posted on June 6, 2014
Walter Glennon, Renaud Proch, and ICI Trustee, Belinda Kielland
ICI's Dexter Wimberly, Joey Lico, and Renaud Proch
Jennifer McGregor moderating artist talk with Andrea Parkins and Michael J. Schumacher
Jennifer McGregor, Wave Hill President & Executive Director, Claudia Bonn, and ICI's Renaud Proch welcoming guests
ICI's Jenn Hyland and guest
Guests enjoying brunch at Wave Hill
Wave Hill's Director of Arts & Senior Curator, Jennifer McGregor introducing With Hidden Noise
With Hidden Noise artists, Michael J. Schumacher and Andrea Parkins
ICI Trustees, Jill Brienza and Ann Schaffer
Sangeetha Ramaswamy, Athena Liu, Blair Brooks, Joey Lico, Mary Anne Talotta, Susi Kenna, and ICI Trustee, Noreen Ahmad
Posted on June 10, 2014
ICI welcomed friends and patrons to an exclusive reception in Wave Hill on June 8, 2014, celebrating the exhibition With Hidden Noise on view at the park’s galleries. As ICI travels the country and the world, it is always a great pleasure to be able to share our exhibitions whenever they come to New York and offer special behind-the-scenes access to ICI supporters and close friends. This was also the opportunity for many to discover or re-discover the spectacular setting offered by Wave Hill, and let ICI be a guide to a unique summertime experience. Guests enjoyed a champagne brunch before walking to the exhibition space, through parts of the 28-acre public garden overlooking the Hudson River and Palisades. Two artists featured in the exhibition, Andrea Parkins and Michael Schumacher, were present and spoke about their work in a conversation moderated by Wave Hill Curator Jennifer McGregor.
Curated by Stephen Vitiello, With Hidden Noise is an exploration of sound art that invites gallery and museum visitors to spend time listening with ears they may not know they have. It brings together evocative sounds, some recognizable from traditional instruments and field recordings, and others masked through electronic processes; and at Wave Hill, it plays with the sounds of the park itself and enhances the senses.
The event was co-organized with Wave Hill, and made possible in part by Julia Fowler and Dan Desmond of J.P. Morgan Private Bank.
For more information about With Hidden Noise, click here.
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Stephen Vitiello, Finding Pictures in Search of Sounds, 2008. Courtesy of the artist.
Art Daily recently featured the exhibition With Hidden Noise, currently installed at the Glyndor Gallery at Wave Hill in the Bronx. The public garden and cultural center includes artist studios and exhibition spaces which encourage the natural relationship between the arts and nature, culture, and site specificity.
“Visitors to Glyndor Gallery will experience the range of works in the show in the context of the garden, its summer foliage abundantly present through the windows of the Sun Porch, where With Hidden Noise will be installed. Wave Hill is the only venue in New York City where this travelling exhibition will be presented.”
To read the full article, please click here.
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The Wall Street Journal features Wave Hill: Ralph Gardner Jr. makes his first visit to Wave Hill in Riverdale, and puts his smartphone’s camera to the test in the public gardens. Read more about it here.
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Push Play installation view, Arcadia University Art Gallery, 2014 © Aaron Igler and Greenhouse Media
Edith Newhall for The Inquirer recently wrote an in depth review of Push Play at the Arcadia University Art Gallery. About the exhibition, Newhall writes:
“I played Ping-Pong with an enthusiastic gallery visitor, tossed dice on a game board to determine my future, and went up and down on a seesaw. Had no one else been in the gallery, I might have picked up an electric guitar. It’s frighteningly easy to tap into your inner adolescent (I also played video games). Push Play is a reminder that art and fun have never been mutually exclusive.”
Newhall goes on to give detailed descriptions of works by Cory Arcangel, David Shrigley, Yoko Ono, and Allan McCollum and Matt Mullican, among others.
To read the full article, please click here.
Posted on June 12, 2014
Posted on June 13, 2014
Brian Staker for City Weekly recently wrote an in depth review of do it at the Utah Museum of Contemporary Art. Covering many of the works in depth, Staker writes:
“But, perhaps more than anything UMOCA has ever produced, do it— the newest exhibit in the Utah Museum of Contemporary Art’s main gallery—calls into question everything about art: not just what art is, but the process by which it is made, who and what an artist is, and the roles of the curator and the viewer.”
The article goes on to describe many of the works in the exhibition including Yoko Ono’s Wish Tree, Candy Pile by Felix Gonzalez Torres, and Nancy Spero’s Sheela (na gig). About the exhibition, UMOCA’s associate curator Rebecca Maksym stated:
“We wanted to tie the show back to Utah as much as possible, or collaborate with other organizations as a way to connect the show to the community.”
Additionally, the exhibition was covered in KCPW, here, and Deseret News featured an online article on UMOCA’s recently implemented ‘stroller tours’ can be read, here.
Posted on June 25, 2014
Christian Jankowski, Rooftop Routine, 2008. Courtesy of the artist.
In an article for the New York Times T Magazine, Katie Kitamura invited RoseLee Goldberg, founder of Performa and curator of Performance Now, to recall the most notable moments from Performa and to discuss the future of performance art.
“In this multitasking, multimedia world, performance allows for a lot of layering of ideas,” Goldberg said, referring to performances that incorporate various media, such as “True Love Is Yet to Come” by the artist Jesper Just, in which an older actor performed alongside a hologram of a younger man. “That’s why I believe performance is going to be so huge in the coming decades.”
To read the full article, please click here.
Posted on June 27, 2014
Gia Wolff, Canopy 2014, digital drawing for Up Hill Down Hall, Turbine Hall installation includes sketches from No Black in the Union Jack by Marlon Griffith, Copyright the artist
On August 23rd, artists Hew Locke and Marlon Griffith will participate in Up Hill Down Hall: An Indoor Carnival curated by EN MAS’ co-curator Claire Tancons at Tate Modern in London. Both artists will be featured in EN MAS’: Carnival and Performance Art of the Caribbean, co-produced by ICI and CAC. Locke’s performance for Tate Modern, Give and Take, will also be one of the key artworks featured in the CAC / ICI exhibition. Set to coincide with the Notting Hill Carnival, Up Hill Down Hall will present newly commissioned performances that offer critical and artistic perspectives on Carnival.
“While signaling the importance of Carnival as a performance medium with mass appeal in the culminating era of the massification of museum culture, Up Hill Down Hall inscribes these works within the politically conscious cultural legacy of the Notting Hill Carnival, born of Caribbean migration and metropolitan accommodation to the aftermath of colonialism, resistance to racism and the mainstreaming of multiculturalism and, ultimately, developed through cultural ingenuity and artistic creativity at the forefront of the formation of postcolonial British culture.”
For more information and a full description of Up Hill Down Hall, visit TATE’s website, here.
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