Friday, November 30, 2007
Thursday, November 29, 2007
Wednesday, November 28, 2007
Tuesday, November 27, 2007
Saturday, November 24, 2007
from the youtube writeup posted by 2Dance4U
In the Double Points series, Emio Greco and Pieter C. Scholten present different aspects of duality, of discord. These short dance pieces are intended as études and seek the confrontation with influences external to the body. In Double Points: 1, the confrontation is with the mesmerizing music of Ravel's Boléro. The search for the margins of opposition and resistance to the compelling pattern imposed by the music forms the main challenge.
also check the NYTimes article by Claudia La Rocco
Friday, November 23, 2007
Thursday, November 22, 2007
Tuesday, November 20, 2007
Monday, November 19, 2007
Sunday, November 18, 2007
Saturday, November 17, 2007
Friday, November 16, 2007
Wednesday, November 14, 2007
Tuesday, November 13, 2007
Monday, November 12, 2007
This has been posted here before but just had to up it again, since it was such an inspiration for the show, "Just a Ghostly Paper Sigh".
Revenge of the Flowers
Malcolm McLaren and Francoise Hardy
"Just a ghostly paper sigh
Till you kiss me back to life"
November 15 - December 22, 2007
Reception: November 15, 7-9pm
Artists: Afruz Amighi, Annie Aube, Taylor Baldwin, Rebecca Chamberlain, Mike Cockrill, Magalie Guérin, Jason Clay Lewis, Jason Cole Mager, Gina Magid, Jasmine Pasquill, Kimi Weart, Barnaby Whitfield
31GRAND is pleased to announce, "Just a Ghostly Paper Sigh", a group exhibition inspired by a phrase from the Malcolm McLaren and Francoise Hardy song "Revenge of the Flowers".
Image: Magalie Guérin. Three Of Hearts. 2006. ballpoint ink on paper, 8 x 11.5"
31GRAND, 143 Ludlow St. New York, NY 10002 t: 212.228.0901
Sunday, November 11, 2007
Saturday, November 10, 2007
Friday, November 9, 2007
Thursday, November 8, 2007
Wednesday, November 7, 2007
Edited by Gilda Williams
All of this info is from MIT Press, where you can get your hands on a copy.
This collection of writings examines the pervasive and influential role of "the Gothic" in contemporary visual culture. The contemporary Gothic in art is informed as much by the stock themes of the eighteenth- and nineteenth-century Gothic novel as it is by more recent permutations of the Gothic in horror film theory, Lacanian psychoanalysis, and Goth subcultures. This reader from London's Whitechapel Gallery brings together artists as different as Matthew Barney, Gregor Schneider, Louise Bourgeois, and Douglas Gordon; its intent is not to use "the Gothic" to group together dissimilar artists but rather to shed light on a particular understanding of their practice. Anthony Vidler looks at ideas of the uncanny to explore Rachel Whiteread's House, and Jeff Wall uses the motif of vampirism to analyze fellow artist Dan Graham's Kammerspell; Hal Foster considers Robert Gober's recent work--laden with Christian symbolism, criticism of America as a nexus of power, and fragmented bodies--as an updated American Gothic, and Kobena Mercer examines the Gothic's depiction of the Other in relation to Michael Jackson's pop video Thriller. Texts by artists including Mike Kelley, Damien Hirst, Tacita Dean, Jonathan Meese, and Catherine Sullivan are complemented by extracts from Walpole's genre-establishing gothic novel The Castle of Otranto, William Gibson, Bret Easton Ellis, and Stephen King, among others, and theoretical writings by such key thinkers as Carol Clover, Beatriz Colomina, Julia Kristeva, Eve Kosofsky Sedgwick, Marina Warner, and Slavoj Zizek. The Gothic provides the first comprehensive overview of the uses of Gothic in contemporary visual culture.
Matthew Barney, Louise Bourgeois, Tacita Dean, Sue de Beer, Janet Cardiff, Mark Dion, Stan Douglas, Robert Gober, Douglas Gordon, Dan Graham, Damien Hirst, Mike Kelley, Paul McCarthy, Teresa Margolles, Jonathan Meese, Raymond Pettibon, Paul Pfeiffer, Gregor Schneider, Cindy Sherman, Catherine Sullivan, Andy Warhol, and Jane and Louise Wilson
Jean Baudrillard, Elizabeth Bronfen, Edmund Burke, Carol Clover, Beatriz Colomina, Douglas Crimp, Jacques Derrida, Richard Dyer, Umberto Eco, Bret Easton Ellis, Trevor Fairbrother, Alex Farquharson, Hal Foster, Michel Foucault, Sigmund Freud, William Gibson, Christoph Grunenberg, Bruce Hainley, Judith Halberstam, Amelia Jones, Jonathan Jones, Mike Kelley, Julia Kristeva, Jacques Lacan, Patrick McGrath, Kobena Mercer, James Meyer, Edgar Allan Poe, Andrew Ross, Jerry Saltz, Eve Kosofsky Sedgwick, Mary Shelley, Nancy Spector, Robert Louis Stevenson, Anthony Vidler, Jeff Wall, Horace Walpole, Marina Warner, Anne Williams, and Slavoj Zizek
Gilda Williams is a critic of art and film and a lecturer on contemporary art at Sotheby's Institute of Art, London. Her writing has appeared in Artforum, Tate etc., Sight and Sound, and Parkett.
Tuesday, November 6, 2007
Monday, November 5, 2007
I just love her work! Kate's in the upcoming exhibition "Pricked: Extreme Embroidery" at the Museum of Arts and Design in NYC. She's also to have work in our (31GRAND) first show of 2008 (details on that exhibition to come soon). Check out her site for more work.
Pricked: Extreme Embroidery
November 8, 2007 - March 9, 2008
Museum of Arts & Design
40 West 53rd Street
New York, NY 10019
image: Oubliette I (detail), 2006, 9 x 7", human hair embroidery on cotton, oval frame, convex glass
Sunday, November 4, 2007
‘I beg thee that to no one else thou showest
These words I send-in such a hidden way
That none but thou may cipher what I say;
Read them in some safe place as best thou knowest.’
When in her heart these words of mine thou sowest
For HAFEZ, speak in any tongue thou knowest;
Turkish and Arabic in love are one-
Love speaks all languages beneath the sun.
Gouache on cardboard
2002 to 2006