A hundred years ago, in February 1913, some 87,000 art lovers viewed the International Exhibition of Modern Art, sponsored by the Association of American Painters and Sculptors at the Lexington Avenue Armory at 25th Street.
Bartomeu Mari, Director of the Museum of Contemporary Art in Barcelona (MACBA) is not a man to be easily discouraged. Over the past five years, MACBA's budget has shrunk one million Euro a year, dropping from a high of 14 million in 2008 to a low of 10 million today.
Alan Kaufman, the Bronx-born son of a French-Jewish Holocaust survivor, is author of the critically acclaimed memoirs Jew Boy and Drunken Angel. Kaufman's writings are subversive articulations of extreme outsiderness.
Socrates Sculpture Park and do it are a marriage made in heaven. Their concept and ethos reflect each other perfectly. Both are about, crucuially, community and ongoing collaborations, about loosening common preconceived notions about the hierarchies in art.
Sometime after the release of Buke and Gass's Riposte in 2010--a striking first impression of a record--the industrious DIY duo did something confusing: they changed their name..slightly...to Buke and Gase.
Holy Motors is many things, but mostly it is a dream. Leos Carax's new film is a series of scenarios with Denis Lavant playing a different character every time he steps out of a limousine -- entering into varied fantasies
During Hurricane Sandy, there were pieces of metal siding being blown down the street outside, clanging around in the wind. And the trees were shaking violently. But in my warm studio, I was at peace and composing up a storm of my own.
Holy Motors is two things: a love note to performance and a love note to cinema. It's an episodic film with dreamy bookends, a few winks at other films and the current state of cinema and audiences, laid at the altar of a very committed actor.
The project delivers a new paradigm of life/death/rebirth cycle into the avant-garde, marrying the organic and ephemeral that once limited the archival potential of feminist art into the masculine realm of digital technology.
This seemingly evasive conceit reflects a decidedly nuanced approach to the storied, well-trodden path that is Opera -- openly acknowledging more recent "experimental" precedents even while turning further back in operatic history for creative inspiration.
Home is difficult to capture: A revolutionary bootboy trapped in the postmodern eighties, he issued an ostensible manifesto on Neoism, reinvented psychogeography, and proceeded to spin off so many mythologies that for a time the man himself seemed unlikely to have ever lived.