See this published on SciArt in America June 25, 2015
The fusion of science into art happens organically through music—as music began to integrate newer technologies into its production methods, the genre of electronic sound was born. The connection between sound and body has been a fascination of sound artists since the 1960s—think of sound pioneers like John Cage and Terry Riley for a point of departure in sound arts’ meticulous history. Sound has never been about listening only; it should also be experienced in the flesh because acoustics are meant to affect the body not only aurally, but physically as well.
To find new places to see and experience experimental sound performances requires finding organizations that cater to this boutique niche. AVANT.org is a great place to start if you are interested in learning about and listening to contemporary sonic art practices. Their recurring series “Sonic Research” is both didactic and experiential because it couples emerging sonic art with contemporary acoustic research.
Their most resent program titled “Psychoacoustics Session I” featured curated installations, artist talks, panel discussions and performances meant to present diverse perspectives and new research into the maturing field of psychoacoustics. This session went beyond thinking of sound as framing a material space and instead employed psychoacoustics as a new paradigm for understanding sonic art as a physical effect on both the body and the art.
See this published on Flavorpill
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.
See this article published on Flavorpill
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.
See this review published on Flavorpill
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.”
See this published on Bushwick Daily
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.
See this published on Flavorpill
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.