Forget performing at the Olympics’ closing ceremony, having nearly eleven million Twitter followers or selling out massive concert venues. We argue that One Direction didn’t really achieve international celebrity until this week, when it was announced that the British pop group would have their likenesses displayed at none other than THE Madame Tussauds.
The life-size Read More
The materials of Richard Serra’s two enormous new sculptures, currently dominating the Gagosian Gallery on 24th Street, will be recognizable to anyone who knows Mr. Serra’s work. They’re made from curved, continuous steel plates more than thirteen feet high, rusted into shades from powdery orange to Martian mahogany, and marked with what are or appear to be scales, drips, streaks, stretch marks, shadows, calcium deposits, water stains, and lightning bolts. The rust continues so evenly that it’s only the occasional glint of a silvery, unrusted corner that looks like evidence of the human hand. Seen from above, their shapes are also recognizable: Cycle is a triskelion composed of three floppy, interlocking “S”s, which create three roughly circular clearings and three spiraling corridors. Junction, also made of steel plates doubled into corridors, looks more like a pinched, four-pointed star.
Amid the heat, the stench, the slow-moving tourists and the quick-moving taxi cabs, there is another obstacle (albeit an often far more pleasant one) for New Yorkers to maneuver around when they venture out this summer: the slew of sculpture, performance and temporary architecture that makes up the city’s public art.
At the Guggenheim’s rotunda on Thursday evening, five dancers, accompanied by John Cage’s solo cello piece One8, performed On Vanishing, a new work by the young New York-based choreographer Jonah Bokaer that the museum had commissioned in conjunction with its current exhibition, Lee Ufan: Marking Infinity.
Audience members, including Mr. Bokaer’s mother, leaned against the museum’s low, spiraling Read More
“The modern chair, which most people find too advanced today, is what they’ll like to sit in 10 years from now,” Florence Knoll said in 1953.
She was right. If you don’t know Ms. Knoll’s name, you have undoubtedly sat on her low, chrome-foot chairs: she created the look of U.S. embassies, corporations and college Read More
All was in readiness: the blue-velvet-covered stage. The moat around it. The two men from Queens with their 30-inch saws. Some people look to the Second Coming of Christ, but at the Rubin Museum of Art, they were awaiting the Buddha.
He came, on Friday afternoon, in the form of a half-ton of ice, carved Read More
The Andy Monument, artist Rob Pruitt’s sculpture of the late Andy Warhol, is being unveiled in Union Square this week. It stands not far from the Decker Building, which housed the second Factory, the one where Valerie Solanas shot Warhol in 1968. So it should perhaps be seen as the Public Art Fund’s belated catch-up Read More
The sculptor John Chamberlain has been around since the early ’60s. He had a corrugated-steel piece sitting on the floor of Andy Warhol’s original Factory, and he had one prominently on display at Max’s Kansas City right through the heyday of the sex, drugs and music.
The artist recently surprised onlookers by leaving Pace, his Read More
The press release for “The Times Square Show” promised “THE BIGGEST MACHINE ON EARTH,” “ART POLITICS PERFORMANCE + FILM,” “Exotic Events!” and “More Than You Bargained For.” It was June 1980, and the art collective CoLab—about 50 artists, among them Kiki Smith, Jenny Holzer, Charles and John Ahearn—had taken over a derelict four-story building at Read More
The View Master is your handy guide to the week’s best gallery shows and museum exhibitions.