Posts Tagged ‘New Museum’

Summer Session – The Dark Side of Mickey Mouse: Llyn Foulkes at the New Museum

Llyn Foulkes. The Lost Frontier, 1997–2005; mixed media; 87 x 96 x 8 in. Courtesy of the artist and The New Museum

For this Summer Session topic of celebrity, today we bring you Allegra Kirkland’s review of the 2013 Llyn Foulkes retrospective at the New Museum. Across all of his multi- and mixed-media works, Foulkes’ oeuvre holds a special fascination for the hollow promises of fame implicit in American popular figures, like Mickey Mouse and Clark Kent. His heavily textured style viscerally manifests the darkness beneath the saccharine[…..]

2015 Triennial: Surround Audience at the New Museum

Josh Kline. Freedom, 2015; installation view, 2015 Triennial: Surround Audience, 2015, New Museum, New York. Courtesy of the Artist and 47 Canal, New York.

Surround Audience, the latest triennial exhibition at the New Museum, surveys fifty-one emerging artists, from twenty-five countries, whose practices are informed by their lived experience immersed in the digital landscape. The triennial has always billed itself as a predictive rather than reflective survey, and this iteration is no exception, with a focus on the culture of the immediate present and where it’s hurtling. Though the[…..]

Chris Ofili: Night and Day at the New Museum

Chris Ofili. The Adoration of Captain Shit and the Legend of the Black Stars (Third Version), 1998; oil, acrylic, polyester resin, paper collage, glitter, map pins, and elephant dung on linen; 96 x 72 in. Courtesy of the Artist; David Zwirner, New York/London; and Victoria Miro, London.

Night and Day at the New Museum is the first retrospective of the artist Chris Ofili in the United States. While the show incorporates sculptures and drawings, it unmistakably showcases the artist’s bravery, skill, and reinvention in painting over the past thirty years. The six bodies of work that span three floors are fearlessly distinct; clearly this is an artist who has no interest in[…..]

Ragnar Kjartansson: Me, My Mother, My Father, and I at the New Museum

Ragnar Kjartansson. Take Me Here by the Dishwasher (Memorial for a Marraige), 2011. Installation view, Ragnar Kjartansson: Me, My Mother, My Father, and I, 2014. Courtesy New Museum, New York. Photo: Benoit Pailley

Ragnar Kjartansson’s Take Me Here by the Dishwasher: Memorial for a Marriage, a mixture of live performance and film, transforms the New Museum’s fourth floor into something like a college movie night sent adrift. The darkened gallery, one wall of which serves as projector screen, becomes a makeshift den—modestly furnished but amply stocked with beer—for ten shaggy troubadours with acoustic guitars. Their ambling, unbroken melody[…..]

Chris Burden: Extreme Measures at the New Museum

Chris Burden. Documentation of Selected Works 1971-1974 (film still), 1971-75. SD Video, color and black and white, sound. 34:38 min. Courtesy of The New Museum.

Chris Burden is one of the legendary giants of performance art. In his seminal body pieces from the early 1970s, he orchestrated a series of daredevil brutalities and tests of the body’s resilience. Burden has had a more prolonged career, however, as a large-scale installation artist who masterminds feats of engineering that seem divorced from the body: scaled-down replicas of major bridges, a giant scale[…..]

The Dark Side of Mickey Mouse: Llyn Foulkes at the New Museum

Llyn Foulkes. Pop, 1985-90; mixed media with soundtrack; 84 x 123 x 3 in. Courtesy of the artist's website.

Llyn Foulkes ranks among that rare cadre of artists for whom fame is an optional extra. Over the course of his fifty-year career, the Los Angeles–based multimedia artist and musician has experienced periods of success—for his monumental Pop-influenced paintings of rocks and, decades later, for his zany, large-scale narrative tableaux. But much of his work has been met with silence from critics and buyers, allowing[…..]

“NOW! THAT’S WHAT I CALL ART”: NYC 1993 at the New Museum

Pepon Osorio, "The Scene of the Crime (Whose Crime?)," [Detail] 1993. Mixed medium installation.

NYC 1993: Experimental Jet Set, Trash and No Star is the New Museum’s crash course in the recent history of contemporary art in New York. The exhibition positions 1993 as a signifier for mass cultural change: the thesis being that the events of this year irrevocably directed culture towards its manifestation in 2013. NYC 1993 seems just as concerned, however, with the ways that we[…..]