No matter what hangs on them, sometimes a person just gets tired of looking at the same four walls. This appears to be the case with John Elderfield, the former chief curator of MoMA’s painting and sculpture department who now lends his considerable talents to the Gagosian Gallery. After a decade of ownership, Mr. Elderfield and wife Jeanne Collins, an art publicist, have sold their loft at 129 Duane Street, according to city records.
And what a loft it is! Mr. Elderfield, who enjoyed a youthful foray into architecture, clearly has an eye for good design. Photos of the two-bedroom, two-bath condo show a museum-like expanse of oak floors, recessed lighting, 12-foot ceilings and tastefully arranged art.
Back in June, longtime Museum of Modern Art curator Barbara London, who has unruly blond hair and a penchant for chunky necklaces, sat down for a meeting with the museum’s security team. The topic at hand was how to safely install 16 speakers and two subwoofers so that the museum would be able to properly play underwater insect noises and ultrasonic echolocation calls of bats recorded by Norwegian artist Jana Winderen. Such sounds are, technically speaking, beyond the range of human hearing, but Ms. Winderen has slowed them down to about a tenth of their speed so that they become audible as fierce, sharp chirps. With the speakers arrayed around the floor and ceiling of the dark gallery, the effect on the listener is of being inside an otherworldly cave.
“I’m in the south of France, so I can’t be there this evening,” began a note from Woody Allen that was read aloud before Monday night’s Peggy Siegal Company screening of his latest film, Blue Jasmine, at MoMA. “I only wish I was in New York and couldn’t be there.”
This fits the notoriously press-shy director’s M.O. During last summer’s premiere of To Rome, With Love, Mr. Allen braved the crowds for the red carpet before beating a hasty exit through some shrubbery to avoid the paparazzi, a feat that many of Jasmine’s stars can probably relate to.
“Jesus Christ,” muttered Louis C.K. as a rogue photographer broke ranks and began flashing blindingly bright lights into the corner where he and his former Parks and Recreation co-star Amy Poehler had sequestered themselves before the film. “Can you believe her?”
Ms. Poehler, in a somewhat more jovial mood, continued regaling the comedian with the story of her recent chat with President Barack Obama.
“He said, ‘Sasha and Malia just love you,’” Ms. Poehler informed Mr. C.K.
“Wait, who and who?” the Louie star deadpanned. “Okay, so what did you say?”
Hell’s Kitchen has gone through remarkable changes over the past few decades, transitioning from a slummy collection of tenements to Midtown West. But some things never change, like the carriage house at 451 West 54th Street, which despite a recent sale, will remain devoted to the photographic arts.
Time passes, which is the point of Christian Marclay’s much-talked-about installation The Clock. The work, a 24-hour cinematic loop composed of sequences appropriated from the last century of film, chronicles this passing in real time, as they say. An alarm clock sounds, a movie star eats breakfast; a wristwatch ticks, actors wait for a train. Some reviewers were surprised that watching time pass could be so captivating, although they might not have been if they’d thought back to any old New Year’s Eve, when the world’s citizens fixate on their clocks.
Led Zeppelin singer Robert Plant, at MOMA on Tuesday with bandmates Jimmy Page, John Paul Jones, and Jason Bonham, son of the band’s late original drummer John, for a press conference to promote their new concert film, “Celebration Day,” entered the journalist-packed auditorium singing, “treat me like a fool…” He was clearly in a festive mood.
That mood would not last.
Ever since the 2007 concert featured in the film, a tribute to the late Atlantic Records co-founder Ahmet Ertegun at London’s O2 Arena, the band has said in countless interviews that they would never reunite again, largely due to Mr. Plant’s desire to focus on other projects and just generally move on. But that didn’t stop the assembled fourth estate from harping on the reunion talk, to the band’s growing annoyance.
For Frank Lloyd Wright acolytes, appreciating the architect’s masterpieces has long involved pilgrimages to far-flung locations. There’s always the Guggenheim, of course, but more importantly, there’s Falling Water, the Robie House, Taliesin and Taliesin West. Until recently, even looking at the architect’s papers involved a journey to the latter two locations, in Spring Green, Wis., and Scottsdale, Ariz.
But now Wright’s papers, which have been stored at the two Taliesins since his death in 1959, are moving to New York, in what The New York Times terms an unusual joint partnership between Columbia University’s Avery Architectural & Fine Arts Library and the Museum of Modern Art.
Last year, The Observer discovered that Jean Nouvel’s soaring MoMA Tower—called “the most exhilarating addition to the skyline in a generation” by The Times‘ architecture critic—would not be a jagged victim of boom time hubris but in fact a real part of the skyline after all. Hines, the project’s developer, filed amended plans for the tower last July, showing that even at its Burden’d height of 1,050 feet, the Pritzker prize would still rise.
Now, more encouraging news that this project will actually become a reality: Hines has tapped Corcoran Sunshine to market the MoMA Tower, officially known as the Torre Verre, according to Crain’s, which means sales can’t be too far away
Fun With Craigslist
Last night, the Museum of Modern Art held a post-VIP Armory show with a production all it’s own: a charity benefit for this week’s biggest art fair, culminating in a performance by hipster rockers Neon Indian. There was only one thing missing…
Some people don’t have very much “Computer Love” in their hearts after being locked out of getting tickets for Kraftwerk’s forthcoming MoMA residency. Tickets for each of the group’s eight performances retailed for $25 a piece. You’d think: With eight performances, there’d be enough of the tickets to go around. You’d be wrong. A lot of people don’t have fast computers or were going to the bathroom when they went on sale, and now, they’re sad that they don’t have Kraftwerk tickets. [Ed. Something about "Showroom Dummies" here.]
Truth be told, there’s still a way to get into the shows: The Gloriously Sleazy Secondary Market of Craigslist.