8 posts tagged "Francesco Clemente"
For the past fifty-some years, James Turrell has been manipulating light to dramatic—and quite often hallucinatory—effect. His magnum opus, for instance, the thirty-five-years-in-the-making (and counting) Roden Crater , turns Flagstaff’s volcanic crater into a celestial observatory. A recent work in Las Vegas gives CityCenter’s Louis Vuitton boutique a neon-lit makeover, and his latest effort, dubbed Aten Reign, converts Frank Lloyd Wright’s iconic Guggenheim Museum into a mesmerizing neon-lit vortex.
“The show has been in development for about six years, and it was a very complicated construction and design process,” explained associate curator Nat Trotman from the base of the Guggenheim’s rotunda, which has been transformed into a spiraling, shimmering kaleidoscope of shifting color-fields. “This building is very idiosyncratic—you can’t just build anything here.”
The installation makes specific use of the Guggenheim’s soaring, elliptical curves and skylight, adding aluminum plates encased with PVC-covered LED lights to Wright’s base to give the space the feel of a giant, tripped-out lamp. Usually covered with art, the walls are stripped bare, and the viewer is left to look up and take in a seductive, hypnotizing loop of vibrant, alternating blues, greens, pinks, purples, and so on. And at the exhibition’s opening last night, guests such as Ralph Lauren, Francesco Clemente, Jenny Holzer, Laurie Simmons, and Agathe Snow wandered the museum’s ramps, sipping champagne while taking in the multicolored glow.
“Light is a powerful substance,” said Turrell. “We have a primal connection to it. I form it as much as the material allows…. My desire is to set up a situation to which I take you and let you see. It becomes your experience.”
James Turrell opens today at New York’s Guggenheim Museum and will run through September 25.
From Warhol’s Factory to Basquiat’s studio, throughout the eighties, downtown Manhattan was the place for young creative types to be. Photographer Jeannette Montgomery Barron was there, and her new tome, Scene, is a sort of yearbook of the time, documenting the likes of Cindy Sherman, Keith Haring, Francesco Clemente, Willem Dafoe, and more early in their careers. “I was just a fly on the wall,” recalls Montgomery Barron, speaking at Indochine, one of her old haunts. (“It looks almost exactly the same, but there were a lot of drugs happening in the bathrooms back then.”) This afternoon, she’ll sign copies of Scene—which, in addition to the snaps, features personal anecdotes about each artist—at Bookmarc, and starting tomorrow, a select group of her black-and-white photographs will be on display in an exhibition at ClampArt. Here, Montgomery Barron discusses her book, and reminisces about shooting Warhol, working out with Bianca Jagger, and spending time with Basquiat.
How did you find yourself in the center of the eighties New York art scene?
I was just lucky. It’s not that I went out and said, “I want to record every artist from A to Z.” It was more like I’d photograph Francesco Clemente, and he’d say, “You should really go photograph my friend Kenny Scharf.” It was very organic in that way. And, I mean, I knew I could drop a name. I’m sure I said, “Hey, I’m a friend of Andy Warhol. Can I shoot you?” I guess I’d get an adrenaline surge.
In the book, you mention that you could just call up Andy Warhol and ask to take his picture. What were those sittings like?
The first time I photographed him was at the Factory in Union Square, and he wouldn’t even let me out of the outer lobby. When I met Bianca Jagger and we became friends, he warmed up. He never really talked much, but he always made you feel like you were the most brilliant person who said the most profound things. Continue Reading “See and Be Scene: Jeannette Montgomery Barron on Her New Book” »
Ron Arad: No Discipline, the first major U.S. retrospective of the designer’s work (and arguably one of the most anticipated shows of the year; I waited in a 15-minute-long queue to see the actual show alongside the likes of Francesco Clemente, Agnes Gund, and Thelma Golden), opened at the Museum of Modern Art last night. Originally shown at the Centre Pompidou in Paris last winter, the exhibition features approximately 140 works by Arad spanning industrial design, hand-crafted studio pieces, sculpture, and mixed media installations—many of which are displayed in a large translucent structure, dubbed Cage sans Frontières (Cage Without Frontiers). Signature pieces like the Rover Chair and the Concrete Stereo are there, but a highlight of the exhibit is the Lolita chandelier for Swarovski (2004), a crystal chandelier that can receive and display text messages. Arad is no stranger to the world of fashion, having designed Tokyo’s idiosyncratic Yohji Yamamoto boutique back in 2003. Today, he collaborates with French luxury denim brand Notify, the sponsor of the MoMA show. An Arad-designed Notify handbag from last year gave way to his latest project: a Notify atelier in Milan that’s scheduled to open this fall—renderings of the space are included in the exhibition. The show runs until October 19.