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As Frieze crashed through New York like an art-filled tidal wave, we can finally reflect on the fair’s deliriously infinite offerings. With a cultural hubris and will to power through all the fair had to offer, I sailed off to Randall’s Island, and along with my cultural comrades, I spent the sun-soaked weekend amidst the art world elite. Four days of perusing over 190 galleries, experiencing the many non-profit programs including Frieze Projects, Talks, Sounds and Education, in addition to the satellite exhibitions like Nada Art Fair and Art in FLUX on Manhattan, this past weekend was one of artistic endurance to say the least.
With the eye-opening amount of art on view, Frieze, naturally, became a hotbed for social media. Let’s face it, hashtagging #FriezeNY along with a selfie in front of a Richard Prince New Portraits, from his notorious Instagram series, packs a cultural cred your Middle America followers will undoubtedly applaud. With this Digital Enlightenment characterized by internet fads and 20 minute trends, the next big thing is the ominous presence on everyone’s cultural horizon. Amidst the many mediums represented at Frieze, a few trends truly spoke to this day and age’s digital addictions.
The New Unconscious: a virtual and pop-up exhibition hosted by the SciArt Center of New York
Curatorial Statement by curator Danielle Kalamaras
Sigmund Freud understood the unconscious as a place of libidinal repression. Art in turn found inspiration in psychoanalysis—Surrealism took as its manifesto Freud’s The Interpretation of Dreams (1913), and later Abstract Expressionism explored the irrational desires of the Freudian unconscious. With new technologies of the 21st century, science exposed a deeper mental reality and proved that human behavior is the product of an endless stream of perceptions, feelings, and thoughts, at both the conscious and unconscious levels. Even with technologies today that allow for an empirical observation of the mind, reality itself is still debated. As in Gestalt Theory, the brain completes external imagery the eye cannot produce—all done at an unconscious level. If a central function of the unconscious is to fill in the blanks in order to construct a useful picture of reality, how does this affect our understanding of the world? “The New Unconscious” explores how human behavior is dually dictated by the conscious and unconscious mind.
“The New Unconscious” is a philosophical theme that should be considered on an individual level by the artist. The theme’s intent is to inspire productivity rather than create barriers. SciArt Center encourages new artwork to be submitted. All works of art in all media will be eligible. Works in progress are also all eligible for the virtual exhibition.
About the Exhibition
“The New Unconscious” will begin as a virtual exhibition on www.sciartcenter.org. A new page on the website will be created, and will feature:
a. 1-5 images of each artist’s work along with a
b. 1 paragraph artist statement
c. Link to Resume/CV
d. Links to social media pages and websites
A feature article written by curator Danielle Kalamaras will be published in the October 2015 issue of SciArt in America. Artists will also be featured in articles published on the SciArt in America blog. An opening party celebrating the virtual exhibition and the artists will be held June 17th, 2015, location TBD in New York City. Images of chosen artworks will be projected onto a large screen during the opening.
A group of artists from the virtual exhibition will be selected to participate in a pop-up exhibition in the fall of 2015. All information regarding the gallery exhibition is to-be-determined. Representation in the virtual exhibition does not guarantee acceptance into the gallery exhibition.
All entries must be received by June 1, 2015, 11:59pm EST, no exceptions.
Please email submissions to: firstname.lastname@example.org with the Subject line “The New Unconscious submission by YOUR NAME”
Read submission requirements and download the entry form here: http://www.sciartcenter.org/the-new-unconscious.html
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Art hung inside the white walls of a gallery is enjoyed in its finished state—the artist is only known through the indexical signs left behind that originally inspired the form and content of the work. Seeing the artist in action is quite a different experience than viewing the finished object inside of a cultural institution, however. Watching the process unfold transforms a static piece into a visceral experience that gives an inanimate object life and sheds light into the many cryptic strategies of creating contemporary art. ArtBattles is one event that allows viewers to glimpse behind closed doors into the artist’s individual methods that define artistic creation. What makes this event even more exhilarating is the underlying competition as viewers are invited to witness a battle of creative hubris on stage.
A premier source for architects, designers, and like-minded trendsetters, the 14th annual Architectural Digest Home Design Show was the place to discover the ‘next big thing’ in furniture design. After pursuing the thousands of products from over 400 brands on view, the 2015 furniture forecast championed the handmade statement piece that will bring the room together and add a touch of individual charm to an existing sea of Ikea sets.
Handcrafted, local, and one-of-a-kind were buzzwords for every vendor located in the MADE section of the show, which celebrated independent designers and fine art objects. The material trending these up-and-coming boutiques is a classic revival of wood with a contemporary twist. Check out this list of 8 designers creating furniture that is both functional and fun.
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Baroque opera meets Buddhism in the Canadian Opera Company’s U.S. premier of “Semele” at the Brooklyn Academy of Music. In the hands of director Zhang Huan—a Chinese performance artist based in Shanghai—George Handel’s 18th century oratorio takes a turn away from tradition as Chinese and Japanese cultures intervene with the Greek tragedy.
“Semele” is Huan’s directorial debut and first foray into theatrical set design. In his notes on “Semele” Huan stated, “My goal is to allow the opera singers to reenact this classical Western opera on an Eastern stage latent with the tragic emotions of Semele—while at the same time allowing the audience to experience the dramatic beauty and pain common to all human beings.”
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This past month the Bushwick Starr hosted a special series with the Target Margin Theater (TMT)inspired by the literary prowess of Gertrude Stein. Curated by TMT Artistic Producer John Del Gaudio, over 75 artists contributed to seven original pieces and three special events. In discussing why Gertrude Stein was chosen to be the matron saint of this year’s Lab series, Del Gaudio stated, “There is much room for play, but at the end of the day you are left with this language, this poetic and, yes, sometimes repetitive language, and these rigorous structures that make her work exciting for some of us and frustrating for others. It challenges and provides different points of access. It pushes boundaries and can be polarizing.”
Getrude Stein (1874-1946) was a leading poet, playwright and patron of the arts during the Avant-Garde era. Although born in the U.S., Stein moved to Paris in 1903 where she lived for the remainder of her life. As a patron of Modern Art, Stein ran in an elite circle that included the creme de la creme of Modern Art including Pablo Picasso and Matisse.
Her “stream of consciousness” literary style is both rhythmic and repetitive, inspired by the life she lived in Paris. Stein happened to live during two tumultuous moments in history, witnessing first hand WWI and WWII at ground zero. She also lived on the fringe of society as an openly gay woman during a time homosexuality was very much a taboo. Her idiosyncrasies in life played out in her novels, plays, stories and poems.
The art exhibition I curated for the SciArt Center, Un-Natural Nature, is featured in the magazine Issues in Science and Technology. The feature starts on page 80 of the PDF below. Issues is normally a hard copy magazine, you may be able to order them through their website as well.
Visit the virtual exhibition Un-Natural Nature on the SciArt Center website.
View the PDF of Issues Winter 2015_2.
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Mourning practices during the 19th century were more than a private grievance, they were a public ritual upholding status through fashionable style. Curated by the Costume Institute, Death Becomes Her: A Century of Mourning Attire examines the aesthetic convergence of customary black mourning attire with the stylish trends of the day.
The burden of mourning fell mostly on women as men were expected to upkeep economic responsibilities. As a result the majority of the 30 looks on view are examples of upper to middle class women’s wear. Exhibited chronologically on a central stage in the Anna Wintour Costume Center, bright spotlights highlight the multiple layers of textured fabrics used to skillfully craft a dutiful yet fashionable ensemble. Projected onto the surrounding walls are anecdotes from diary entries, fashion magazines, and other historical documents contextualizing the ensembles with personal narratives.
Read this review on Metro New York
Download the PDF of this Metro review here
Appropriation artist Richard Prince is back at his controversial antics again with a series of “New Paintings.” Well, they’re “paintings” in that they’re ink-jet prints, and they’re “new” in that these are Instagram photos taken by other people. If the sheer absurdity of seeing the best selfies of everyone’s favorite social-media app in an art gallery is not enough, here are three other reason you cannot miss “New Paintings.”
For the rousing debate of Contemporary Art
These paintings are not strictly a product of Prince’s artistic genius. The “New Paintings” are not even painted by the artist himself, but are inkjet prints created from Instagram screenshots. Is this art or is this copyright infringement? Prince is not new to legal controversy — he was sued in 2013 by photographer Patrick Cariou, who claimed Prince unrightfully appropriated his art. Prince came out of court victorious, which only added to his work’s caustic mystique.