assemblage

An assemblage of Arts & Culture focused on New York & London.
Assembled by Megan N. Liberty

Catherine Opie, Self-Portrait/Cutting, 1993
Want to see this on a billboard near you? Vote now at arteverywhereus.org
Check out Frank Bowling's painting on view at the Brooklyn Museum in Witness: Art and Civil Rights in the Sixties
Robert Mapplethorpe, Ken Moody and Robert Sherman, 1984

Want to see this on a billboard near you? Vote now at arteverywhereus.org
On view now at Tate Modern, this show was co-organized by Tate and MoMA. So if you can’t see it in London, it opens here in NYC in October.
Len Lye, Ann Lye, 1947
On view now at the Drawing Center in Len Lye Motion Sketch through June 8 2014.
Glenn Ligon, Self-Portrait #7, 1996
Want to see this on a billboard near you? Vote now at arteverywhereus.org

Art Everywhere

Choose your favorite pieces of art to be displayed in the largest outdoor art event to take place in the US. Your votes will inform the final selection of 50 works of art that will appear on public displays such as billboards, bus shelters, subway posters, and more throughout August.”

I think bringing art into the public  realm is awesome. So I am behind this project. To show my support I’ll be posting some of my favorite nominated pieces and encouraging you all to participate and vote! It’s so easy. All you have to do is create a name and password and you are done! You can vote once a day or only once, depending on how strongly you feel about the pieces. Get voting!

Robert Rauschenberg, Plus Fours, 1974 Transfer/collage on fabric 67 x 95 inches
Opens at Gemini G.E.L.at Joni Weyl April 17, 2014
Adam Pendleton’s Black Dada
Check out his new work on view now at Pace Gallery NY through May 3, 2014

Michael Snow: Photo-Centric, Philadelphia Museum of Art

heuristic: enabling a person to discover or learn something for themselves; hands-on; interactive.

In her catalog essay for Michael Snow: Photo-Centric, Adelina Vlas describes Snow’s work as heuristic, explaining, “in many instances the viewer must walk around them, bend down, handle parts, and above all, be aware of his/her own body in the process.” 1 That is exactly the word I would use to describe my experience going through the exhibition, currently on view at the Philadelphia Museum of Art. As we literally crouch to see the images on the underside of the series of three hanging photographs titled, Crouch, Leap, Land (1970) or lean over to see the bottom rings of the nine photographs, Of a Ladder (1971), we are confronted with a series of questions: What is a photograph? How do we, the viewer, interact with the photograph both intellectually and physically? What physical space does it occupy?

One of the works which best exemplifies these questions is Digest (1970), a stack of twenty-three laminated photographs placed alongside a metal basin filled with hidden objects encased in resin. Each photograph reveals a layer of resin and the objects underneath it. As we physically hold the object-thing of a photograph, we are confronted by both the corporal and temporal weight of the photograph. Not only is it a physical thing capable of being handled and taking up space, but it also allows us to hold a past moment in our hands. In the case of Digest, the past moment also corresponds to a physical thing, slowly unveiling objects we can no longer see except in the photograph in our hands. By hiding common objects, such as a pink cup or dishtowel, and instead having the photographs, which are traditionally not thought of as physical objects, Snow emphasizes the physicality of the image over the items, all through our participation with the work. Heuristic indeed.

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1 Adelina Vlas, Michael Snow: Photo-Centric, 10. 

Vik Muniz, New Car, Album, 2014
Digital C-Print