(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.

20 February 2013

Child Mind Institute: The Art of Possibility @ Journal Gallery

"Transformation really means a change in the way you see the world - and a shift in how you see yourself. It is not simply a change in the your point of view, but rather a whole different perception of what is possible. Through Creativity Workshops we use art to shift teens' awareness to encompass more possibilities." - Stephanie LaCava

"The Art of Possiblity" features twenty-five works of written art by local New York City high school students.The exhibition presents works from 9th, 10th, and 11th grade students who participated in a writing workshop with Stephanie LaCava, journalist, writer, and author of An Extraordinary Theory of Objects: A Memoir of an Outsider in Paris. Stephanie worked with students on a written piece that answered questions like, "Why do things happen to us?" or "When we're old and happy, what will we have to write about? What will inspire us then?"

Stephanie LaCava collaborated with Marc Jacobs on an accessories line inspired by her book with 100% of the proceeds benefiting the Child Mind Institute. To purchase accessories and support CMI click here.

For more information on Child Mind Institute click here.

19 February 2013

NYC 1993: Experimental Jet Set, Trash and No Star @ The New Museum

Cindy Sherman
[PRESS RELEASE]Centering on 1993, the exhibition is conceived as a time capsule, an experiment in collective memory that attempts to capture a specific moment at the intersection of art, pop culture, and politics. The social and economic landscape of the early ’90s was a cultural turning point both nationally and globally. Conflict in Europe, attempts at peace in the Middle East, the AIDS crisis, national debates on health care, gun control, and gay rights, and caustic partisan politics were both the background and source material for a number of younger artists who first came to prominence in 1993. This exhibition brings together a range of iconic and lesser-known artworks that serve as both artifacts from a pivotal moment in the New York art world and as key markers in the cultural history of the city.

“NYC 1993: Experimental Jet Set, Trash and No Star” draws its subtitle from the eponymous album that the New York rock band Sonic Youth recorded in 1993 and captures the complex exchange between mainstream and underground culture across disciplines, which came to define the art of the era. The exhibition takes a broad view of the New York scene as it existed twenty years ago—focusing not only on a single generation of emerging New York artists, but also looking at more senior figures and individuals from other cities who had some of their first significant exhibitions in New York in 1993. Works that are immediately recognizable from major institutional presentations like the Whitney Biennial and Venice Biennale are presented alongside lesser-known works, which may have initially only been seen by a small audience in commercial galleries, alternative spaces, or in the artist’s studio.

This exhibition is not a definitive history of the art in the 1990s, nor is it one that privileges a single group of artists united under a single thematic or conceptual banner. Instead, the exhibition takes the form of a kind of vertical cross section of artistic production in New York City—capturing both the familiar and the forgotten, and bringing together individuals who may have originally inhabited radically different positions. The critical debates and discussions of the early 1990s—on issues such as racial and gender politics, globalism, and institutional critique—have been taken up again in recent years by younger artists, writers, activists, and filmmakers, demonstrating how our current social and political moment grows out of the events and ideas of the recent past. Many of the artists in the exhibition have only recently become prominent, and although others may seem less familiar to a contemporary audience, all the participants have contributed to the complex intersection between art and the world at large that defined the 1990s and continues to shape artistic expression today.

The exhibition will be accompanied by a fully illustrated catalogue with key historical texts and reflections by younger curators and writers on the impact of this pivotal moment in American culture.

“NYC 1993” is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, Gary Carrion-Murayari, Curator, Jenny Moore, Associate Curator, and Margot Norton, Assistant Curator.

Felix Gonzalez-Torres, Untitled

1993: January- June 

1993: July- December 

Matthew Barney, Drawing Restraint 7

Pepon Osorio, Scene of the Crime (Whose Crime?)

Coco Fusco, The Undiscovered Amerindians

Jessica Diamond, Tributes to Kusama: Infinity

John Currin, Girl(s) in Bed

Andres Serrano, Rat Poison Suicide II

Janine Antoni, Lick and Lather 

Annie Leibovitz, Stills from Sarajevo, 1993