Olympic host cities pour millions of dollars into building facilities for the games, but what happens to the expensive structures when the festivities are over?
The fourth edition of the Guggenheim’s off-site installation series stillspotting nyc transports participants from their noisy urban environment into a world of serene fantasy. Don’t miss out: we’re giving away two stillspotting tickets!
Discretely located on the otherwise rarely frequented Cortlandt Alley in TriBeCa, Red Bucket Films (an indie film production company) has opened the city’s smallest museum in a freight elevator. Red Bucket’s owners, Alex Kalman, Josh and Benny Safdie, creatively called this 80 square foot museum, “Museum.”
David Opdyke observed firsthand a moment cracks appeared in the edifice of progress. Growing up in Schenectady, New York in the ’70s, he saw the city once home to Thomas Edison’s Machine Works, G.E., and ALCO decline into a state of abandonment, returning in bits and pieces to nature.
A concurrent homage to the past and future of the conurbation, Chris Burden’s Metropolis II (2011) alludes to no one specific region. The Eiffel Tower hugs a familiar Gehry-like building, which is adjacent to a geometric tower like those in Singapore or Dubai—but the automotive hub echoes the stressful, frenetic nature of the artist’s own locality.
Few artists have used mapping as an artistic practice to the effect that Mark Bradford has, weaving the visual and social landscapes of urban societies into the layers of his collage paintings. These paintings, along with works in sculpture and video, will be displayed at a joint exhibition held by the San Francisco Museum of Modern Art and Yerba Buena Center for the Arts beginning February 18. This exhibition is a traveling survey of Bradford’s work organized by the Wexner Center for the Arts.
LaToya Ruby Frazier, a recent graduate of the Whitney Independent Study Program, explores the ground between self-portraiture and social documentary, using her work – primarily photographic – to cut through the inter-generational gaps in her family. She uses her camera to probe into her family members’ relationships and experience (herself included) and the de-industrialized, toxic city of Braddock.
With a nod to Diderot’s dictum that one “must ruin a palace to create an object of interest,” Cyprien Gaillard’s multi-faceted oeuvre is an elaborate homage to entropy. As Gaillard himself once succinctly put it: “I’m interested in things failing, in the beauty of failure, and the fall in general.” His penchant for failure has garnered him not a little amount of success. In this interview, Timothée Chaillou speaks with the artist about failed utopias, anachronisms, sanctioned vandalism, and man-made structures reclaimed by nature, all recurrent themes in his work.