“Limelight, 1983,” is the title of one of the prints that opens Ken Schles’ show at Howard Greenberg Gallery of gritty, grainy, high-contrast prints of downtown New York. ‘Entering The Palladium, 1985” is the title of another. “Chair 619 East 5th Street, 1984” is another. (That’s pretty damn east by the way, 619, even by today’s standards). “View From 224 Avenue B, 1983.” “Boy on East 5th Street, 1984.”
If you find yourself in Munich, Germany, you might visit the Nymphenburg Palace, which was built in 1679. But you could easily miss one of its hidden treasures, Porzellan Manufaktur Nymphenburg, which has been producing porcelain wares since 1747.
The manufactory still belongs to the Bavarian crown. Although calling it a manufactory is misleading, because today the word implies mechanized production on industrial scale.
On making the first turn of the spiral up the Guggenheim ramp you too might question whether there is going to be enough to keep this exhibition of On Kawara going. It is one thing to walk the thirty-six Date Paintings permanently on view at Dia:Beacon, where the mind has been primed for the experience, and a whole other matter to walk in fresh off Fifth Avenue and immediately hit the ramp with three months of consecutive Day Paintings (“Everyday Meditation” 1971).
The Upper East Side outpost of L.A.’s Blum & Poe gallery takes up the top floors of an unprepossessing brownstone and is easy to miss. That said, you will most likely have the place to yourself, which is a special way to get to walk through the first New York solo show of Kishio Suga that takes up the gallery, including its courtyard-facing terrace.
I had forgotten that Doubleday editor Jacqueline Kennedy Onassis originally commissioned the photographs from Unseen Versailles by the late Deborah Turbeville that are on view at Staley Wise in 1981. The mind at first could not, perhaps did not, want to reconcile the withdrawn, intimate vision that is Turbeville’s with the stately, public and, one imagines, rigid New York of Kennedy Onassis.
“Future Beauty: 30 Years of Japanese Fashion” is currently showing at the Gallery of Modern Art (GOMA), in Brisbane, Australia. The exhibition comes from the archives of the prestigious Kyoto Costume Institute and explores the influence Japanese fashion designers have had over the last thirty years.
The comprehensive collection is comprised of more than one hundred pieces from the heavyweights like Rei Kawakubo of
As the singer P.J. Harvey prepares to record her new album, we decided to publish this slightly abridged version of the article about Harvey’s last album, Let England Shake, and about her friendship with Ann Demeulemeester and Patrick Robyn.
The hard-hitting, ruptured, scarred, molten, carnal sculptures of the Belgian sculptor Berlinde De Bruyckere await those of you who will be in London and/or Ghent this winter.
De Bruyckere’s show, “Met tere huid/Of tender skin,” comprised of gorgeous (and intestinal) wax, leather, cloth, rope, iron and epoxy resin hanging wall sculptures, drawings, and hulking encaustic and wood sculptures are up at Hauser & Wirth in London for a couple of more weeks, while a 100-plus piece mid-career retrospective is on at S.M.A.K., Ghent through the middle of February.
If by mixing works from different periods and media the curators of Boston’s Museum of Fine Arts exhibit Goya: Order and Disorder strived for their viewers to appreciate the artist’s versatility, their efforts have surpassed their mark.
With 170 paintings, prints, and drawings occupying eight thematically categorized rooms, the display is diverse and comprehensive. In fact, the exhibit showcases Francisco Goya’s range of traditional court portraiture, whimsical prints, and etchings depicting the devastating effects of war so expertly that it makes you wonder how such multifacetedness can stem from one artist.
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