With the Whitney Museum of American Art's new downtown building (set to open in 2015) dubbed the "Whitney of the Future," we asked a few up-and-coming artists what they thought the future of art entailed. What they came up with sounds pretty darn exciting to us.
I went to the Whitney Museum of Art to partake in one of their latest offerings, Blues For Smoke, a saucy gumbo of Walker, Hammons, Whitten, O'Grady, among many others. The exhibition serves a mostly-brown stew, bubbling over with work tucked into nearly every corner.
It's an ordinary white garage door, but when Lady Pink rolls it up, the eyes, surprisingly, are assaulted by a kaleidoscope of color. In this space, which was built to house two cars, Lady Pink, The Grandmother of Graffiti, makes her studio.
A sense of humor is a good thing in life and in art, but with the advent of the internet, the proliferation of misinformation and the spreading of sometimes damaging untruths has become rampant, redundant and sometimes dangerous.
Breaking a promise -- or changing one's mind, whatever you want to call it -- to donate money or objects to a museum (or any other nonprofit institution) is rare, but it does happen, sometimes in spectacular fashion.
As an active participant in Die Brücke as well as Die Blaue Reiter and a professor at the Bauhaus, Lyonel Feininger played a vital role in cultural history of the 20th century as a socio-cultural aggregator.