Dandy Lion: (Re) Articulating Black Masculine Identity
Opening
Apr 06, 2015 at 11:00 am
Start date
Apr 06, 2015
End date
Jul 12, 2015
The exhibition seeks to distinguish the contemporary expressions of the Black Dandy phenomenon in popular culture. The first comprehensive exhibition of its kind, this project highlights young men in city landscapes who defy stereotypical and monolithic understandings of Black masculinity by remixing Victorian-era fashion with traditional African sartorial sensibilities. Dandy Lion: (Re) Articulating Black Masculine Identity features images of both emerging and world- renowned photographers and filmmakers from various regions of the African Diaspora, including the U.S., South Africa, the Congo and Western Europe. Juxtaposed against an urban backdrop, the “hip hop” generation’s Black Dandy is noticeably different from the historical minstrel or Harlem Renaissance queer prototype. The 21st century Black Dandy’s sartorial choices are an expression of the African aesthetic rather than an imitation of European high-brow society. Using their self- fashioned bodies as sites of resistance, contemporary Black dandies are complicating modern narratives of what it means to be Black, masculine and fashionable today.
Photographer Steffi Klenz is preoccupied with the built environment, exploring the notion of place and space in her work. Although her work presents environments and buildings it is not architectural photography.
Klenz' work has been described as 'post photographic' because she considers whether meaning is influenced by what lies outside the picture frame. She also considers whether repetition underpins or obscures meaning and the context, and if the location in which an image is stored or experienced changes what it communicates.
In Plotting Spaces. Steffi Klenz works with the theatrical fly-tower and the focal plane shutter of the camera as places and devices, which produce an uncertain distinction between fact and fiction.
Plotting Spaces strips back the space of the theatre and the workings of the camera to their architectural and theatrical essence. the images reveal the tension between narrative tendency (describing what we see) and abstract possibility (creating illusion and make believe).
Plotting Spaces brings into sharp relief spaces that are curtained (or screened) off, a space in which a charged absence emphasises presence. Klenz’s images aim to encourage the debate about how photographs are produced, how they communicate and how they might be rethought.
In her most recent body of work, the Taiwanese-born, Stanford educated and San Francisco based photographer, Donna J. Wan has dedicated herself to exploring an often shuttered and taboo subject - the taking of one’s own life.
Abstractly, the images call to mind the “spirit” photographs of the 19th century, not in the artifice of their technique, but in the spirit of their quest to recall the lost – and the losses suffered.
"Death wooed us" has already been recognized as a powerful and controversial statement. Formally exquisite, the emotional resonance of the work slowly reveals itself. The sublime views are positively reaffirming life.
Joseph Beuys, Sled, 1969. Wooden sled, felt, fabric straps, flashlight, fat, oil paint, string, 13 3/4 x 35 7/16 x 133/4 in – 34,93 x 90 x 34.93 cm. Courtesy of Mitchell-‐Innes & Nash, NY
Large‐scale exhibition of Joseph Beuys multiples from the collection of Reinhard Schlegel. Consisting of over 500 works spanning from the early 1960s to his death in 1986 this exhibition is the most significant collection of Beuys multiples to be shown in New York to date.
The multiples carry a special significance in Beuys’s oeuvre; he once said: “If you have all my multiples, then you have me completely.” Connected to his ambition to affect social change through art, the multiples allowed Beuys an avenue to disseminate his ideas at greater range. Each multiple in the collection encapsulates a specific moment, performance or idea in Beuys’s practice, and are laden with symbolic meaning. Capri Battery, for instance, is one of the last multiples Beuys created and connects a natural object (the lemon) with a pinnacle of human innovation (the light bulb), signifying ecological balance between man and nature.
The Exhibition will be accompanied by an illustrated publication with an essay by Eugen Blume.
It is the first survey of this provocative Polish-born, New York-based artist's photography.
Known for working in a wide variety of media including installation, fiber art, resin paintings, and collage, Uklański (born 1968) invests overlooked and exhausted styles with new meanings—and similarly explores clichéd or obsolete photographic languages.
Nearly half of the works on display in the Metropolitan Museum's exhibition will be from The Joy of Photography (1997-2007), the artist's seminal yet under-known series.
Also on view will be the related installation, Fatal Attraction: Piotr Uklański Selects from the Met Collection, a lively "artist’s choice" of works from 11 different curatorial departments at the Met and 60 works from the Department of Photographs.
Sigmar Polke (German, 1941–2010) was one of the most voraciously experimental artists of the twentieth century. This retrospective is the first to encompass the unusually broad range of mediums he worked with during his five-decade career, including painting, photography, film, sculpture, drawing, printmaking, television, performance, and stained glass, as well as his constant, highly innovative blurring of the boundaries between these mediums. Masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next—he always eluded easy categorization.
Beneath Polke’s irreverent wit, promiscuous intelligence, and chance operations lay a deep skepticism of all authority—artistic, familial, religious, and governmental.
Polke scrutinized the malleability of vision. Highly attuned to the differences between appearance and reality, he was wary of the notion that there might be one universal truth.
"Alibis: Sigmar Polke" was shown in the MoMA, New York 19/4-3/8, 2014, in the Tate Modern, London 1/10, 2014-8/2, 2015.
The exhibition is made possible by a partnership with Volkswagen.
In seiner Ausstellung PSYCHOPROSA setzt der österreichische Künstler Thomas Feuerstein (*1968 in Innsbruck, lebt in Wien) biochemische Prozesse als künstlerisches Ausdrucksmittel ein und schafft eine Installation im Grenzbereich zwischen Kunst und naturwissenschaftlicher Versuchsanordnung.
Er verwandelt die Räume der Galerie im Taxispalais in ein zusammenhängendes Ensemble aus Gewächshaus, Laborküche, Kühlraum und Fabrik. Schläuche verlaufen mäandernd durch die Ausstellung und verbinden Apparaturen und Objekte. Aus Algen und Pilzen wird mittels eines chemischen Prozesses ein synthetisches Halluzinogen gewonnen und zugleich ein zähfließender Schleim produziert. Dicke Fäden und Schlieren formen sich zu einer transparenten, liquiden Skulptur. Die psychotrope Wirkung der halluzinogenen Substanz, die feste Gegenstände in der Wahrnehmung zerfließen lässt, wird als realer Prozess gespiegelt, das Innen der Psyche und das Außen des polymeren Schleims beginnen sich zu überlagern.
Thomas Feuerstein arbeitet in unterschiedlichen Medien wie Skulptur und Installation, Grafik, Malerei, Fotografie und Netzkunst und stellt dabei vielschichtige Bezüge zu Biologie, Wissenschaftstheorie, Ökonomie und europäischer Kulturgeschichte her. Indem er das Faktische mit dem Fiktiven verschränkt, dekonstruiert er den Wahrheitsanspruch wissenschaftlicher Erklärungsmodelle und lässt neue Bedeutungszusammenhänge entstehen.
This major retrospective presents the work of a critical figure in the history of modern art, American photographer and filmmaker Paul Strand (1890–1976), whose archive of nearly 4,000 prints stands as a cornerstone of the Museum’s collection. Emphasizing the influential artist’s most important projects from the 1910s through the 1960s, the exhibition surveys Strand’s entire life’s work, including his breakthrough trials in abstraction and candid street portraits, close-ups of natural and machine forms, and extended explorations of the American Southwest, Mexico, New England, France, Italy, Scotland, Egypt, Morocco, Ghana, and Romania.
This exhibition includes approximately 250 of Strand’s finest prints, selected primarily from the Museum’s holdings, with important early prints from public and private collections. The wide range of imagery highlights how Strand radically changed his work at several key moments in an effort to identify photography's pivotal role as a means of understanding and describing the modern world. The exhibition also features works by fellow artists from the Alfred Stieglitz circle (Georgia O’Keeffe, John Marin, and Arthur Dove), screenings of Strand’s films, and a selection of archival materials.
Organized by the Philadelphia Museum of Art in collaboration with Fundación MAPFRE.
Made possible by the Terra Foundation for American Art
Catalogue ' Paul Strand - Master of Modern Photography', ISBN 9780300207927
This major retrospective presents the work of a critical figure in the history of modern art, American photographer and filmmaker Paul Strand (1890–1976), whose archive of nearly 4,000 prints stands as a cornerstone of the Museum’s collection. Emphasizing the influential artist’s most important projects from the 1910s through the 1960s, the exhibition surveys Strand’s entire life’s work, including his breakthrough trials in abstraction and candid street portraits, close-ups of natural and machine forms, and extended explorations of the American Southwest, Mexico, New England, France, Italy, Scotland, Egypt, Morocco, Ghana, and Romania.
This exhibition includes approximately 250 of Strand’s finest prints, selected primarily from the Museum’s holdings, with important early prints from public and private collections. The wide range of imagery highlights how Strand radically changed his work at several key moments in an effort to identify photography's pivotal role as a means of understanding and describing the modern world. The exhibition also features works by fellow artists from the Alfred Stieglitz circle (Georgia O’Keeffe, John Marin, and Arthur Dove), screenings of Strand’s films, and a selection of archival materials.
Organized by the Philadelphia Museum of Art in collaboration with Fundación MAPFRE.
Made possible by the Terra Foundation for American Art
Catalogue ' Paul Strand - Master of Modern Photography', ISBN 9780300207927
"Space does not exist; it is just a metaphor for the structure of our existence." Louise Bourgeois
Among the most innovative and sophisticated sculptural works in her extensive OEuvre are the Cells, a series of architectural spaces that deal with a range of emotions. Created over a span of two decades, the Cell series presents individual microcosms: each Cell is an enclosure that separates the internal world from the external world. In these unique spaces, the artist composes found objects, clothes, fabric, furniture and distinctive sculptures into emotionally charged, theatrical sets.
As a new sculptural category, Louise Bourgeois’s Cells "occupy a place somewhere between museum panoramic, theatrical staging, environment, installation, and sculpture, which, in this form and quantity, is without precedent in the history of art" (Julienne Lorz). The Haus der Kunst is pleased to present such an extraordinary body of work.
Today you find 194961 artists, and 8072 curators in 221516 exhibitions in 12560 venues (resulting in 756990 network edges) from 1880 to present, in 1539 cities in 163 countries, plus 283 professional and private artwork offers.
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