October 29, 2016
The “Kollektsia!” exhibition at the Pompidou Center in Paris was born out of a donation of more than 250 artworks from the Vladimir Potanin Foundation, collectors, artists and their families. While not being too exhaustive, this ensemble of works by major Russian artists adequately offers a panorama of some forty years of contemporary art in the USSR and then in Russia, covering the most important movements. It includes works by confrontational artists created outside official structures, from the Moscow conceptual school to Sots Art, from non-conformism to perestroika (a political reform within the Communist Party of the Soviet Union during the 1980s, widely associated with Soviet leader Mikhail Gorbachev and his glasnost [openess] policy reform).
The first section of the show is dedicated to non-conformist art since the late 1950s when artists revived the aesthetic practices of the avant-garde and sought innovations of their own formal approach. My favourite pieces are the “Milk Box” sculpture (1970) by Igor Shelkovski, a hanging object called “Space-Movement-Infinity” — the first kinetic work in postwar Russian art and some intriguing photographic works by Francisco Infante-Arana. The non-conformist artworks are not following a homogeneous movement with shared objectives. However, as a whole they represent the budding diversified creativity confronting the strictly controlled official structures in art in the USSR.
My favourite section of the exhibition is of the more playful Sots Art, invented by Komar and Melamid to subvert, in a Pop-art way, the codes of the mass propaganda that saturated Soviet life. In contrast to the Pop artists — confronted by a superabundance of consumer goods — Sots artists, such as Alexander Kosolapov, Boris Orlov and Leonid Sokov, sought to demythologize official cliché and the ideological environment of the Soviet society through absurdity and paradox. For instance, the eye- and phone-camera-catching “Malevich-Marlboro Triptych” (1985) by Alexander Kosolapov demonstrates how the artist drew on broad iconographic sources from both Soviet and Western clichés while using an advertising image. On the other hand, Leonid Sokov’s hanging sculpture “Glasses for Every Soviet Person” (1976) delivers ironic humour through simple graphics and raw wooden texture.
Alongside Sots Art, the 1970s brought about Moscow Romantic Conceptualism which accord greater importance to text and language, with artists working at the intersection of poetry, performance and visual art, such as Dmitri Prigov and Andrei Monstyrsky. The latter advocated a conceptual art that reflected the ascendancy of literature in Russian culture. A section of the exhibition pays homage to Dmitri Prigov who was known for writing verse on cans. The conceptualists also embraced the power of text through performance, such as “I Breathe and I Hear” (1983) by Andrei Monstyrsky, who is a part of the Collective Actions group; the group taht has carried out a lot of planned performances.
The onset of perestroika brought an exploding sense of freedom and accelerating artistic processes from the mid-1980s onwards. Following the sudden liberalization, artists were then able to take part in exhibitions and find a place on the international art arena. This period in Russian history not only witnesses the diversifying artistic approaches, but also paved the way for legitimizing of formerly marginalized art. In 1988, a first auction organised by Sotheby’s in Moscow gave a tangible value to unofficial art, and the boundary between official and unofficial abruptly disappeared. In this sense, the impressive “Last Supper” (1989) by Andrei Filippov, with hammers and sickles on a red table, is one of those works marking the end of “unofficial art” while it preceded the dissolution of the Soviet Union. Perhaps some of Yuri Leridrman’s works in 2009 displayed at the exhibition could reflect this lively flourishing of creative energies in post-Soviet era; the artist juxtaposed painted plants onto collage of newspapers, thereby transforming textual material into images.
I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.
Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.
While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.
You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?
I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.
How did you personal background (your farther is a famous artist) influence you throughout your career?
Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.
How did the idea for 1:54 come about? What challenges did you face/still facing?
When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.
Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?
As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.
Who’s your favourite artist?
This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.
I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.
Who are the artists to watch at 1:54 this year in London?
I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.
What are your future plans for the fair and beyond?
1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.
October 5, 2016
Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.
Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.
The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.
Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:
Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.
Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.
The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.
Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.
Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.
Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.
This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.
Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.
Another must-visit show in London focuses on Caravaggio. It is important to note, though, that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.
Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.
September 14, 2016
START Art Fair opens its third edition on September 15th in London. Located in the unique Saatchi Gallery, this new (compared to others) art fair is a star on the rise. Apart from featuring and showcasing emerging artists and galleries from all over the world, the fair also stands out for its curatorial projects. This year’s START Projects present works by Iraq-born and Qatari-based artist Mahmoud Obaidi.
The director of START is Niru Ratnam (check out his twitter). A believer in cultural globalization, Ratnam, who previously worked as Head of Development at Art14, brings the multicultural drive and global focus to the fair. We talked about START, London’s art scene and what Brexit could potentially mean for the art world.
What was the initial idea behind START and what is new in its third edition opening next week?
The idea behind START is very simple – an art fair set in a museum-quality location that focuses on emerging artists and new art scenes. There are lots of great art fairs around Europe so we wanted to do something that was a bit different – where you could go to and come away with a series of new discoveries. Ideally we want each visitor to go away with interests in artists and gallerists who they haven’t come across before. In terms of the setting, I wanted to move away from the trade show type venues that most art fairs go for and do something in the type of place that you’d normally visit for an exhibition – hence the Saatchi Gallery is our base.
Apart from its boutique-like setting at Saatchi Gallery, how does START differ from other art fairs happening in London?
We try to have quite a tight focus—on emerging artists and new art scenes. So the emphasis is very much on discovering artists and galleries who are new to you. Lots of these galleries are new to London audiences, so hopefully that gives the fair a little bit of a unique flavour.
START is relatively small scale compared to other art fairs. Would you think of expansion?
I think fair organizers are realizing that viewers, no matter how expert, can only meaningfully look at a certain amount of art and artists at a fair. At a certain point, no matter how good a fair is, it becomes a blur, which means that the good stuff you seen gets forgotten. Also in terms of collectors, it just gets too confusing if there is too much to see.
How do you select artists for START Projects?
Again the emphasis is very much on looking at new art scenes in a bit more depth, so the opportunity to showcase Mahmoud Obaidi’s work in advance of his major museum show in Qatar, introducing him to London audiences at START makes perfect sense. He is exactly the type of artist that START is all about –somebody with a strong reputation in the region where he works but one who deserves recognition on a wider stage — and his participation as both artist and a curator in START Projects emphasizes the important role that established artists play in nurturing emerging talent in new art scenes where there is a relative scarcity of public institutions.
We tend to take each edition one at a time – we’re not a big art fair or organisation that will suddenly roll out three similar fairs around the world. So the main plan is simply to deliver a really great edition again!
What are your views on cultural globalisation being even more pronounced now due to political changes both in the UK and the world?
Do you think London will still remain the heart of the art industry or will it shift in view of Brexit?
September 13, 2016
“But A Storm Is Blowing From Paradise: Contemporary Art from the Middle East and North Africa” at the Solomon R. Guggenheim Museum is the third installment of the UBS Map Global Art Initiative, which aims to add contemporary art to the museum’s permanent collection from underrepresented regions of the world. The previous exhibitions featured works from Latin America and Southeast Asia. The initiative’s objective is to create a more diverse, cross-cultural dialogue about the contemporary art being created and exhibited today.
“But A Storm Is Blowing From Paradise” features seventeen artists whose works span a wide variety of media, including video, painting, photography, works on paper, bronze and copper sculpture, and installation pieces. The curator, Sara Raza (whose Instagram @punkorientalism is fabulous and worth checking out), includes artworks that grapple with immigration, geometry, architecture, and cultural memory.
The first work of art you see once you enter the exhibition is made of the most unusual and surprising material I’ve ever encountered in a museum—couscous! The artist Kader Attia recreated the UNESCO World Heritage Site of the ancient city of Ghardaïa using the Middle Eastern culinary staple. On the two walls behind the sculpture are images of the French architects Le Corbusier and his successor Fernand Pouillon. The two men visited Ghardaïa, Algeria in the 1930s and reworked elements of the local architecture into the aesthetic of European modern architecture, but never acknowledged or credited where they found their inspiration. The piece makes a thought-provoking statement about the colonial past of France and Algeria, and artistic colonization.
Another standout piece is Abbas Akhavan’s ‘Study for a Monument,’ which is a large array of bronze sculptures arranged on the floor not far from couscous sculpture. The bronzes are reproductions of plants native to ‘the cradle of civilization’: modern day Iraq. The decades of war has caused irreparable damage to the environment and ecology of the nation. And the plants Akhavan reproduces are representative of either endangered or extinct species. The title of the work plays with our idea of what a monument is—an object that glorifies or commemorates something forever.
My favorite artist within the exhibition is Nadia Kaabi-Linke. Her stainless steel sculpture ‘Flying Carpets’ hangs from the gallery’s high ceilings. The geometry of the sculpture corresponds to the dimension of blankets used by undocumented immigrant street vendors who sell their goods illegally. Kaabi-Linke encountered many of these vendors during her time in Venice, Italy, and the sculpture mirrors the arch of Venetian bridges. The title alludes to a trope in oriental myth, but is grounded in the realities of the migration crisis. The cage-like sculpture could even stand for the trap these immigrants find themselves in within the black market. These individuals face a constant threat of being arrested or deported for their illegal activity. The geometry of sculpture is breathtaking, and it throws beautifully intricate shadows along the surrounding walls.
One of the things that I appreciated the most about this exhibition is that it doesn’t try to discuss or grapple with every geopolitical, social, religious, or cultural issue that the Middle East and North Africa are dealing with. Instead, it chooses to show how a few contemporary artists can conceptually convey the complexity of the Middle East. Hopefully seeing the exhibition will inspire visitors to reevaluate their impression of the region through the lens of contemporary art.
“But A Storm Is Blowing From Paradise” is on view at the Solomon R. Guggenheim Museum until October 5th, 2016. In 2017, it will travel to the Pera Museum in Istanbul.
September 4, 2016
Anouska Beckwith, England-born and Paris-based photographer, is the artist to follow. Interested in nature and mystical, Anouska tries to capture the intrinsic relationship between the unseen natural wonders and presents her subjects in the dreamlike settings.
The founder of the World Wide Women, the collective of female photographers from all over the world, the artist searches for ways of expressing her own views on the world by means of photography, poetry and music. Her models are frequently musicians and other people from creative industries giving her photographs yet an extra layer of artistic meaning.
This September Anouska presents her second solo show (following her debut in New York last yer with the show Transcendence) and her first solo show in London called Uni~Verse at the Palm Tree Gallery. I met Anouska last year when we discussed her creative process and her inspirations to follow up her own practice and perhaps have a solo show in London. Now, when the show is finally happening, we talked again, discussing the background behind Uni~Verse and the new future ambitions.
Why did you choose the word Uni~Verse as the title for your show?
I chose the title ‘Uni-Verse’ for the show as I loved the meaning, ‘One song’ coming from the Greek origin.
I believe that despite humans, animals and nature being different from one another we are all a collection of parts that make up the whole to form ‘one song’. I felt that ‘Uni-Verse’ encompassed what I wished to express through my work, a melody in nature’s symphony.
What’s the theme/focus behind it?
‘ Women have always been the guardians of wisdom and humanity which makes them natural, but usually secret, rulers. The time has come for them to rule openly, but together with and not against men.’ – Charlotte Wolf
The theme for the exhibition looks at nature as the backdrop for the exploration of feminine archetypes and endurance throughout time. As I believe that our planet is having a rebirth of the feminine. We have been living in a patriarchal society for the past 3000 years and although we have had some incredible advancement we are now in need of a big change, which is beginning to happen. I feel that we need to encourage guardianship of the Earth and for us to realign with the natural cycles rather than go against them.
What was the inspiration behind your new projects?
I have drawn from different sources for my work, which have either been from songs that I have been listening to or books that I have been reading such as ‘Women that run with wolves’ which inspired me to create
‘The Handless Maiden’ or from the use of tarot cards which led me to create ‘ The Empress’ featuring Flo Morrissey or looking at the chaos around me after the Paris attacks all of this past year and seeing the pain and destruction in the world led me to create ‘War In Heaven’.
Your new works position models in the natural setting. Women look unprotected to the natural forces. What notions are you trying to raise in your work?
I love nature and all that it provides us with but I also respect it as it can be destructive and catastrophic in some cases. I feel that we are lucky to be here, it is a gift not a given. I think a lot of people have forgotten this and try to manipulate something much greater than we have been led to believe. Through my work I try to explore the harmony between the two. Yet the insignificance of our presence, how temporary it is in the scheme of things, overwhelms me at times and I am reminded that it is a miracle.
Who are your models?
I usually choose models for my own work that inspire me. I like working with people I know mainly as I find there is a relaxed energy when taking photographs. I photographed Macha Polivka, an amazing healer and actress who I met outside of Paris last summer at an ashram. She is very natural and beautiful. I found working with her an absolute joy as she was completely in her body. Xamira Azul I met through my good friend and fellow artist Amanda Charchian last year during a summer solstice ritual and we have become friends ever since.
Flo Morrissey is one of my best friends whom I met through World Wide Women when she performed at our Ritual Exhibition. Last year she moved to Paris, which has been a dream world for us to share. Over the past couple of years we’ve had ongoing projects together. She is also extremely adventurous! Last year we were in Ibiza and I had a whole vision of her inside this remote cave. At first she looked at me as if to say ‘really?’ but once I told her of my idea she climbed up and took position. She looked like a water goddess.
How do you choose location and subject of your work?
Usually I have an image in mind of what backdrop I would like for the photograph and then I either research a place to shoot or I stumble across something even more magical than I could have pictured. Usually choosing the subject and location come hand in hand.
Why did you decide to have your second solo show specifically in London?
I choose to have my second solo show in London as it’s where I grew up and felt that it was important for me to return to my roots. My family is from England and even though I live in Paris there will always be a part of me there.
You mostly photograph female models, why?
I mainly photograph women because I find them fascinating. The form and curve of a woman is much more interesting to me than men. There is a mystery to them that when photographed can capture a very vulnerable moment that I think only is expressed by a woman photographing another woman. A trust is formed between the two people.
How do you balance the intrinsic nature of your work with the commercial aspect of photography?
I think when you create work it should come from a place of integrity and truth. How one conducts themself is equally important. I feel that nature and beauty are two things that everyone should be exposed to as so many people live their lives in fear without hope of a brighter future. I think that offering work to inspire people as an alternative for the future is what we are in desperate need of. I am not saying that my work does this but I try to convey a message of hope and awareness of our mother earth and all her many gifts.
I use social media and I think the more people who can see ones work is always a positive if the message is truthful. Even if it affects just one person that is enough for me as one person can have a ripple effect.
What’s next for you?
I am creating a short film with a dancer in the Fall and I will be continuing shooting the ‘War In Heaven’ series as I wish to turn it into a book, as well as working on my installation room ‘ I Am The Other You’.
I will also be doing editorial work.
Uni~Verse on view at the Palm Tree Gallery September 16th – October 8th
291 Portobello Rd, London
September 1, 2016
As back to school approaches, Art Versed explores the most prestigious and popular MFA programs in the U.S. Whether you’re thinking about returning to school or graduating this year and planning for the future, these programs will certainly guarantee artistic success. A mixture of Ivy League classics and schools specializing in art and design make the list, allowing for artists to choose the school environment best for them.
Yale University— The classic dream school, Yale’s MFA program is incredibly impressive and popular, with notable alumni such as Eva Hesse and Chuck Close. This three year program is especially known for their graphic design and photography programs, proclaimed as the best in the country. The program is also very strong for sculpture, painting and printmaking. Like all Ivy League schools, the prestige that accompanies the Yale name comes at a cost, specifically $33,500 a year. However, with its distinguished faculty and alumni, the connections built within the Yale artistic community, as well as addition of the powerful name Yale to your CV, are worth every penny.
Columbia University of the City of New York— Another Ivy dream school, Columbia provides the beautiful traditional campus of an ivy league school in the heart of NYC, allowing students to explore the diverse cultural scene. Columbia’s MFA is incredibly selective, claiming an admissions rate of only 2%. Columbia also offers a speciality in “new genres” such as Sound Art, setting it apart from other MFA programs. Like Yale, this 2 year ivy program boasts an impressive list of faculty and alumni such as Jon Kessler, Georgia Sagri, Guy Ben-Ner, Lisi Raskin, but also comes with the hefty price tag of $51,676.
The School of the Art Institute of Chicago— Focusing mainly on new media and the intersection of art and technology, SAIC offers a special program in film/video/new media and Sound art, as well as an MA in Visual and Critical Studies, which combines visual art and art theory. The SAIC alumni could not possibly get more impressive, so if you want to wander the same halls once populated by Georgia O’Keeffe, Grant Wood, Claes Oldenburg, and Jeff Koons this is the school for you. Part of the Art Institute of Chicago, and located in the heart of the city, SAIC also provides an opportunity for students to explore the museum’s collection and the city’s art scene. The powerful alumni and great location tip the scales against the school’s big sticker price of $44,010. However, SAIC is known to give a substantial amount of grants and student funding.
The School of the Museum of Fine Arts Boston— This artist founded institution was established in 1876 and is run through Tufts University in partnership with the MFA Boston. Students here have the unique and incredible opportunity of exhibiting their work at the MFA Boston during their 2 years at SMFA. This tiny, (less than 200 students per year) interdisciplinary program, attended by the likes of Jim Dine, Nan Goldin, and Ellsworth Kelly, prominent reputation can perhaps justify the price of $39,020.
Rhode Island School of Design— Compared to some of the previous programs discussed, which combine technique with academic study, RISD stresses technical elements of artistic craft. Offering specialties in a huge variety of areas, RISD is the school for the artist’s artist, looking to work hard. Unlike many of the programs on this list at large universities, RISD has less than 400 graduate students in total, and the average class size is only 11 students. The program can be completed in anywhere between 1-3 years, which could make the price of $42,622 more manageable if you’re able to finish in just one year. Incredible alumni such as Andrea Zittel, Jenny Holzer, Kara Walker certainly bolster the school’s prestige.
Bard College— This tiny school located in Annandale-on-Hudson in upstate New York, offers a unique system allowing students to complete their MFA in three summer sessions and two independent-study sessions, allowing students to also work on building their portfolios while completing their degree. Many of Bard’s alumni return to teach classes, so students may have the chance to study with Amy Sillman, Paul Chan, Carolee Schneeman, David Horvitz, Herb Ritts, or Rachel Harrison at some point during their time at Bard. The chance to study with any of these greats, as well as work in an untraditional setting balances out the sticker shock the accompanies the $55,000 price tag.
Pratt School of Design— Pratt offers its students some of the best and most extensive resources of the schools on this list. With wood, metal, and print shops, as well as ceramics studios and darkrooms, students students have access to a wide variety resources as well as exhibition space in Pratt’s own gallery spaces. If these resources don’t speak for themselves, the extensive list of successful Pratt alumni will, such as Robert Mapplethorpe, Felix Gonzalez-Torres, Mickalene Thomas, and Roxy Paine. All of these resources and prestige come at the lowest price of any of the schools on our list, $28,308 annually.
School of Visual Arts (SVA)— Excelling in the specialities of media arts, such as Computer and video art, as well as the more “traditional” media of painting and sculpture, SVA provides students with all the wonderful opportunities of going to school in NYC at a slightly lower price than Columbia– a refreshing $36,130. Despite its smaller price tag, SVA still boasts an incredible list of alumni such as Keith Haring, Sarah Sze, and Sol LeWitt. Also worth noting, SVA also offers a program called “visual narratives” which combines visual arts and creative writing.
Savannah College of Arts and Design— Heading South, the Savannah College of Arts & Design offers the largest variety of programs of any school specializing in art and design. Interestingly, many of SCAD’s programs are also available for completion online. With renowned faculty and alumni, many of which focused in photography and graphic design, SCAD provides great opportunities and resources in the charming city of Savannah for their students, at the slightly lower price of $34,250 annually.
CalArts— Transitioning to the West, CalArts is known to be “the best” visual arts program on the west coast. It’s location in sunny Valencia, California means that it has connections to the film and media industries of Hollywood, which are good for post-grad professional opportunities and connections. If alumni such as Mike Kelley and Jack Goldstein aren’t enough to sell you, maybe the fact that the school was “founded” by none other than Walt Disney will be enough to convince you CalArts is the place for you. However, all that sunshine and prestige comes at the expensive price of $41,700 a year.
August 21, 2016
The usually booming New York City art scene is rather slow in August, leaving one to wonder where all of the commotion over contemporary art goes: on vacation to the Hamptons of course! There is a great deal of special exhibitions and openings happening all over the Hamptons this month. Should you find yourself escaping to the Hamptons during these final days of summer, be sure to check out one or all of these events.
- Montauk/ Watermill
On August 7th, “Unfinished Business” opened at the Parrish Art Museum. This exhibit, which will run until October 16th, features the paintings by Ross Bleckner, Eric Fischl, and David Salle, three artists who formed an artistic enclave in Los Angeles in the 1970s and ’80s. The exhibit features 23 canvases and 17 paperworks by these artists and celebrates their innovation and profound influence on the Los Angeles art scene.
Parrish Art Museum, 279 Montauk Hwy, Water Mill, NY 11976
At the Watermill Center, you can catch the light installation “Constellations in Red, Yellow, and Blue” until August 28th. The light sculptures on display by Mexican artist G.T Pellizzi, are inspired by “the mythological, calendrical, and astronomical symbols found on many textiles in The Watermill Collection.”As the title of the exhibit states, the sculptures are lit in the primary colors- red, yellow, and blue. Pelliziz’s work has previously been on display at MoMa PS1, Centre Pompidou, The Whitney, and various other contemporary art spaces.
Watermill Center, 39 Water Mill Towd Rd, Water Mill, NY 11976
2. Bridgehampton is quite busy with art happenings this month. You can catch The Curiosities of Harry Squires” at the Bridgehampton Museum through October. This exhibit features the collection owned and curated by Bridgehampton figure Harry Squires, which includes various oddities such as shipwreck memorabilia and Native American artifacts.
In addition to the permanent collection at the Dan Flavin Institute, the exhibit “Icons” is on view through April. The title “Icons” is a reference to the traditional religious association with the term, however, the works on display are decidedly non-representational, consisting of painted boxes adorned with light features that are dedicated to Flavin’s loved ones.
The Dan Flavin Art Institute is located on Corwith Avenue off Main Street in Bridgehampton, New York 11932
- East Hampton
If you are craving even more minimalism, head to Guild Hall Museum for “Aspects of Minimalism,” which is on view through October. The exhibition features more work by Dan Flavin, as well as Agnes Martin, Gerhard Richter and other minimalist artists. Also on view at Guild Hall are Carol Ross’s Metal Sculptures in the Furman sculpture garden.
Guild Hall, 158 Main Street, East Hampton, NY 11937
The next time you escape to your sanctuary in the Hamptons (or get yourself invited to someone else’s vacation home), pencil in some time in between outdoor brunch and tanning by the pool to check out some fantastic art.
August 16, 2016
“Danny Lyon: Message to the Future,” the photographer’s most comprehensive retrospective is currently on view at The Whitney Museum of American Art. The show boasts an impressive 175 photographs and films as well as rarely exhibited archives and personal documents. It is divided thematically exhibiting Lyon’s most well known bodies of work, and roughly chronologically traces the start of his career in 1962 all the way to Lyon’s work in the present day. The exhibition is divided into seven sections: Civil Rights, The Bikeriders, The Destruction of Lower Manhattan, Prisons, New Mexico and the West, Films and Montages, and Ongoing Activism. From the titles alone Lyon’s broad range of interest in social issues and concern for the marginalized and disenfranchised is made apparent. His work represents a nonconventional and intimate approach where Lyon immerses himself in his subject’s world, gaining an insider perspective that moves beyond mere observation and into a wholehearted and genuine interest.
“You put a camera in my hand, I want to get close to people. Not just physically close, emotionally close, all of it.” –Danny Lyon, The Whitney Museum of American Art
Lyon began his career in 1962 when he began working with the Student Non-Violent Coordinating Committee (SNCC) as their first official photographer, documenting the civil rights movement in the South. He captured sit-ins, demonstrations, marches, funerals, and the general turbulent and violent atmosphere of the period. His photographs were used in brochures, posters, and fundraising campaigns, many of which portrayed the brutal force of the police academy, questioning their position and responsibilities to civilians. One 1962 SNCC poster of a [white] officer, arms crossed, reads “Is He Protecting You?” It is highly unsettling to see just how many of these images seem so familiar and resonate in American culture today.
Turning the corner we are met with cool, hard faced bikers in leather jackets with matching “Chicago Outlaws” insignia. This selection is based off of Lyon’s time spent riding with the Chicago Outlaws Motorcycle Club in the late 1960s. Romanticized shots of the Outlaws on the road, such as Crossing the Ohio River, Louisville (1966) and Route 12, Wisconsin (1963) indulge us in the liberating freedom such groups enjoyed, while in several close up portraits we have a rarely seen, tamer version of the bikers—surrounded by their families, girlfriends, and wives. The rebellious nature of the bikers, matched with their unapologetic pursuit of freedom attracted the photographer to the group. After spending more time with them and gaining their confidence, Lyon began recording the group speaking candidly and conducted informal yet highly personal interviews. The photographic documentation and edited transcripts would become his famous book, “The Bikers,” published in 1967.
In his extensive body of work, Prisons, encompassing photographs, interviews, recordings, and film, Lyon chronicled life behind bars. With the help of Dr. George Beto, then director of prisons within the Texas Department of Corrections, Lyon gained access over a fourteen-month period to move freely inside prison complexes and to follow prisoners around on their daily activities. We see personal belongings like photographs and calendars, games of checkers, labor time on the fields, shakedowns, security pat-downs, and officers on guard. These images are as serious and somber as they are filled with humanity and understanding of these men and their situations. The resulting photographs, film footage, and other archival documents would become the book “Conversations with the Dead” published in 1971.
“[I wanted to] make a picture of imprisonment as distressing as I knew it to be in reality.” –Danny Lyon, The Whitney Museum of American Art
Documentation, and truthful documentation, is the end goal throughout Lyon’s photographic practice. His images are transparent, direct, and charged with meaning and message. Each one serves a to bring injustice to the surface with the hope to promote social change. With this approach he has challenged the conventional “sanitized” vision of American life as presented in media, offering up an alternative that portrays the various social histories of America.
From the 1970s and onward he shifted focus as a self-proclaimed “advocacy journalist.” His activist drive took him to various Latin American countries where he captured laborers and street children, undocumented workers crossing the US-Mexico border, and the violent revolution in Haiti. More recently, between 2005-09, he traveled to China to documented communities living in polluted regions.
Regardless of subject matter, geographic location, or time period, all of Lyon’s images are linked through a common spirit: the photographer’s compassionate character and relentless ambition to be a truth teller. The result is his inherent ability to humanize his subjects while returning the dignity and character that social prejudices and ignorance have stolen from them. These are human beings worthy of a second chance and worthy of a second glance.
A single look at these photographs and we are filled with more understanding and compassion than when we entered, a comprehension that seems as relevant today as it did decades ago. If that’s not the point of art, then I don’t know what is.
Danny Lyon: Message to the Future is on display June 17-September 25, 2016 at The Whitney Museum of American Art.
August 12, 2016
Japanese artist Mariko Mori’s Ring: One with Nature (2016) is a three meter wide ring overlooking a 58-meter waterfall in the middle of the Brazilian rainforest, in Véu da Noiva, Mangaratiba. The permanent installation is arranged to allow the shift of colors with the movement of the sun, changing from vibrant blue to a bright gold as it is backlighted by the sunrise. Striking in its minimalism, Mori’s sculpture is multifaceted both in its conception and effect. The artist has since stated that the idea originated as an inspiring, ethereal dream of a ring over a waterfall, which she sought to actualize in physical space. Rooted in a spiritual beginning, the installation took on an even broader range of meaning through its inherently environmental message and relation to the 2016 Rio Olympics.
Faou Foundation, Mori’s nonprofit in New York which promotes global environmental awareness, produced the sculpture and gave it as a gift to Brazil’s environmental institute, Instituto Estadual do Ambiente (INEA). The installation further actualizes its environmental message through formal symbolism. The singular ring set above the Véu da Noiva waterfalls functions as a conceptual extension of the five Olympic rings, highlighting the message of unification between countries to nature’s realm. This is a crucial message for the planet in its current state of the ecological crisis. Through her highly symbolic gesture, Mori successfully utilizes the Olympics as a platform of global synchrony with nature.
Symbolism behind the ring’s physical form also functions as a reminder of the cyclic relationship between humanity and nature, tracing back to prehistoric times. The artist’s choice of the circle also correlates to organic, archetypal forms found within natural landscapes, further strengthening the timelessness of the piece through its minimalistic expression. The sixth Olympic ring was unveiled on August 2 with a ritual-like ceremony including music and performance by participants dressed in all white. The white color further amplified the artist’s statement of universal oneness and reinforced thematic connections to ancestry and tradition.
Mariko Mori’s recent sculpture recalls her previous work in terms of its synthesis of ancient traditions and belief systems with modern technology. The result is a truly present object that is not only relevant to modern times but also introduces a sense of deeper archetypal connection in its audience. This element is also present in Transcircle 1.1 (2004), where Mori composes a modernized version of the ancient Stonehenge with a constantly shifting scenery of lights. The structure integrates elements of both prehistoric Japanese and Celtic traditions, introducing a personalized synthesis of cross-cultural mythology that is also present in Ring: One with Nature. Mori uses live data taken from a neutrino physics laboratory in Japan to monitor the play of lights in Transcircle 1.1, achieving a startling, distinguished presence that echoes throughout her body of work.
Through integrating technological advances with an artistically spiritual vision, Mori achieves a rich spectacle in Ring: One with Nature and makes a profound statement about humanity’s potential for unity. Her sculpture is a reminder that mankind is capable of creating structures that are environmentally friendly, culturally unifying and profitable all at once. In context of Mori’s previous works, the sixth Olympic ring becomes a part of the artist’s overarching vision that places vital importance on human presence and agency in our global landscape. Her message is both simple and profound. It deeply resonates at this time, calling for unity between nations as well as between mankind and the earth.