September 1 2014

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7 posts tagged "New Museum"

Art Sprouts in Montauk


Anya Kielar's Installation

A six-foot-tall, pentagonal sculpture made entirely of salt; a classic pickup truck dropped on concrete blocks; and a web of gauzy, tie-dyed tapestries printed with wires, bras, and a slew of household items that hang from the trees (above)—these are the three works made by artists Olympia Scarry, Virginia Overton, and Anya Kielar, respectively, for Pop Up 1: Montauk, a monthlong show opening this evening in an abandoned lot by the beach in Montauk. The exhibition is a part of Art Production Fund’s ongoing project to bring art to public spaces, and is curated by gallerist Fabiola Beracasa in association with the New Museum’s Gary Carrion-Murayari and Joyce Sitterly.

“Coming from a gallery background, I found that one of the more interesting aspects of gallery life was the fact that every time we put up a new show, it was basically public art,” explained Beracasa, who lives in the house next to the exhibition site. This new installation takes this community aspect to the next level, placing the works directly in a natural environment to be “shared by the community—and weathered on this kind of wild, forest-y plot of land.”

That the pieces are made entirely by female artists is an added—and unexpected—bonus. “We just came across the three [artists] that felt really right for the space,” said Beracasa. “The irony is that it turned out to be three women—which was not our intention at all—but it’s a really amazing thing, because that never happens.”

Pop Up 1: Montauk will be on view at 333 Old Montauk Highway, Thursdays through Sundays from 12 to 6 p.m. until September 8.

Photo: Anya Kielar’s Lines#2, 2013, Courtesy Art Production Fund

Beyond the Arty Parties: A Look Inside the Venice Biennale


Massimiliano Gioni at the Trussardi partyThings must once have been so much easier for the social set. They simply followed the sun. But in the past few weeks alone, the bold-type butterflies have winged from Frieze in New York to the film festival in Cannes—with diversions to Monte Carlo for the Dior Resort show and the Grand Prix—and, now, to Venice, where the Biennale, the senior citizen of international art events, swung into gear with three preview days. They launched with the New Museum’s dinner on Tuesday night for its director of exhibitions, Massimiliano Gioni (left), who is not only the curator of this year’s Biennale but also the artistic director of the Nicola Trussardi Foundation in Milan. On Thursday night, it was the Trussardis’ turn to host a party in honor of Gioni. Jessica Chastain and Leonardo DiCaprio were among the guests. Bridging the two evenings was an opening at the Fondazione Prada of an exhibition that fetishistically re-creates, down to the size of the rooms in the original, a watershed show from the Kunsthalle Bern in 1969.

All in all, the preview days perfectly captured the swirling symbiosis of art, film, and fashion that is currently gilding popular culture with a hectic glamour. But even the movie stars couldn’t deflect the spotlight from the 39-year-old Gioni, who, with charisma to spare, has hitched his own star to the venerable wagon of the Biennale, in the process creating the kind of art happening that people will buzz about for years—or at least for the rest of 2013 (it closes November 24).

Marino Aurtiri's installation at the Venice Biennale

If you have the great good fortune to make it to Venice this summer, you’ll be able to experience Gioni’s recasting of contemporary art as something playful, wondrous, mythic. His launchpad—and the title he has given his curatorial effort—is The Encyclopedic Palace. In 1955, an Italian immigrant named Marino Auriti imagined a towering structure covering sixteen blocks on the National Mall in Washington, DC, where all the world’s knowledge could be stored (above). The scale model Auriti built is the centerpiece of Gioni’s exhibition in the Arsenale, the complex of ancient warehouses and armories that is one of the Biennale’s “official” locations. So powerful is Auriti’s concept that it immediately strikes an obsessive, fantastical, almost dreamlike chord, which echoes not just through the Arsenale but through the work of the dozens of artists Gioni has curated in the huge central pavilion of the Giardini, the municipal gardens that are the Biennale’s other focal point. In fact, that chord is so insanely irresistible (literally—the obsession bordering on madness of outsider art is one of the dominant sensibilities on display) that it seemed to infect the exhibitions staged in the international pavilions that encircled Gioni’s playground. These ambassadorial exercises in aesthetics (picture a World’s Fair of art) are often heavy-going, but I tried to imagine what kids would make of Jeremy Deller’s murals and bird-of-prey movie in the UK pavilion, or Vadim Zakharov’s huge showerhead raining gold coins down on the crowd in the Russian pavilion (below), or Mathias Poledna’s three-minute cartoon in the Austrian pavilion, which revives Disney’s labor-intensive pre-digital animation of the late thirties and early forties to gorgeous, disturbing effect. I felt like a kid myself looking at these things, thrilled, enthralled, slightly derailed, but refreshed of vision. Continue Reading “Beyond the Arty Parties: A Look Inside the Venice Biennale” »

Haute Holographics


At Coachella back in April, rapper Tupac Shakur was brought back to life, in the form of a hologram, to perform on stage with Snoop Dogg and Dr. Dre. The impressive technological feat not only ushered in a trend in music (the estates of Jim Morrison and Jimi Hendrix are reportedly now working on similar holographic performances), but also in art (an exhibition featuring holographic works by the likes of Chuck Close and Ed Ruscha opens at NYC’s New Museum July 18). Fashion is getting in on the action, too.

We’ve spotted holographic accessories everywhere this Resort season, from Proenza Schouler to Narciso Rodriguez to Stuart Weitzman. Jewelry designer Eddie Borgo is on board as well, working with the special treatment in shades of blue and pink. His first-ever handbag is also holographic. It can be worn across the body, as a clutch, or as a fanny pack, and you can even remove the straps and wear them as a necklace.

Photos: Courtesy of Eddie Borgo

Backstage With Bauer


The likes of Constance Jablonski, Thakoon Panichgul, and Magnus Berger all turned out to the New Museum last night to celebrate photographer Anna Bauer’s new tome Anna Bauer Backstage. Check out our full coverage of the Interview and DeLeon-sponsored party, co-hosted by Tim Blanks and Fabien Baron, here. Below, an exclusive video shot at the event.

Photo: Nicholas Hunt/

The Land Of Lam Opens On Crosby


Lest you should stay in one night this week, tonight is the opening party for Derek Lam’s first boutique in the quaintly cobblestoned but retail-hot micro-neighborhood that we’ll call CroHo. (That’s for the T-junction formed by Crosby and Howard streets.) The space is minimal, airy, and slightly trippy, with the 2,800 square feet divvied up by curving sweeps of aquarium glass. It was designed by starchitects Kazuyo Sejima and Ryue Nishizawa of SANAA, whose only other New York project is the New Museum. “In both the New Museum and Derek Lam, we wanted to bring refined elements into the rough texture of the surrounding city in a way that blended naturally,” says Sejima, who was literally Lam’s first client. (She bought a black double-breasted trench from Fall 2004.) Thus, the modernist glass walls and poured concrete floor play off the original brick walls of the nineteenth-century building. By July, Lam and his staff will be moving to Crosby Street as well. “I always wanted to have it like a European house where the store is downstairs and the atelier is above,” says Lam. That means that the Soho resident will be able to walk to work, thereby fulfilling yet another New York dream.

Photo: Courtesy of Derek Lam