The French conceptual artist Pierre Huyghehas won the Smithsonian's $25,000 Contemporary Artist Award. Every year since 2002 the Smithsonian has given the prize to an artist under 50, with previous winners including Jessica Stockholder (2007), Kara Walker (2004) and Rirkrit Tiravanija (2003). Huyghe (pictured in puppet form from his 2004 film "This Is Not a Time for Dreaming"), who was born in 1962, splits his time between New York and Paris, and tends to carry out conceptual and formal experiments in short films, installations, sculptures and performances. His most recent solo exhibition in New York City closed last month at Marian Goodman Gallery, which represents his work. Watch him explain a planted calendar installation he did last spring at the Museo Reina Sofia in Madrid after the jump.
Wouldn't be the holidays without news of more delays, disasters and departures at Broadway's biggest big-budget debacle, Spider-Man: Turn Off the Dark. Today, ArtsBeat reports that one of the show's dark figures is turning off: Natalie Mendoza, who plays the new villainess Arachne, suffered a concussion during the first preview performance back in November when a rope holding a piece of equipment hit her in the head offstage. Since then her people and the show's producers have been working on an exit agreement, and two tipsters who spoke anonymously to the Times suggest that an official announcement could be released later today. Mendoza hasn't performed since December 20, when castmate and friend Christopher Tierney fell 20 feet after a harness malfunction. So, Spider-Mancontinues to be the best bet for daredevil understudies.
Posted
by Mark Asch
on Tue, Dec 28, 2010 at 8:58 AM
From tomorrow through the 4th of January, Film Forum revives Jean-Pierre Melville's Army of Shadows.
What did you do in the war, Dad? In spring of 2006, Film Forum premiered Rialto's reissue of the long unavailable Army of Shadows, Jean-Pierre Melville's autobiographically informed epic of the French resistance, 37 years after it was released in France and nearly 33 years after Melville's death, and suddenly, the ineffable, geometrical, stoical cool of his gangster movies gained a personal resonance previously unimagined. Here, as in Bob the Gambler or Le Samourai or Le Cercle Rouge, were trenchcoated outlaws enacting macho honor codes with an understatement that you could call Zen—not because Melville was filling in a philosophical backstory for the fetishized gestures of American B-movies, but because resigned fatalism really is the only way to go when enlist for a war you've no choice but to fight and no chance to survive. Melville, an insurgent in his own country during the German occupation, didn't learn all his best moves from the movies after all.
Polish-American street knitter Agata Olek, whose work we spotted in Dumbo a couple months ago, brought a much more ambitious project to beautiful fruition for two precious hours yesterday before it was taken down and blanketed in snow: she covered Wall Street's "Charging Bull" sculpture in her trademark neon crochet patterns. This is easily the best thing that has ever happened in the Financial District ever. (ANIMAL)
One of the only buildings on the Brooklyn Navy Yard's historical Admiral's Row to be set aside for preservation according to the already-underway project to redevelop the site into a supermarket, visitor center and possible research facility, is the 1830s Timber Shed at the corner of Navy and Flushing (pictured), but that structure was already half-collapsed before yesterday's snow storm and seems increasingly likely to collapse before it can be renovated and restored. Last week the NY Daily Newsreported that officials from the Navy Yard and preservationists have warned the Brooklyn Navy Yard Development Corp., which is carrying out the redevelopment of the southwest corner of the yard, that the building is at risk of joining its neighboring Admiral's Row historic homes in irreparable dilapidation.
Outside The L Magazine offices, about an hour ago.
Well, dear readers, since the full story behind my black eye is less than truly mytho-poetic, I thought I'd embellish the tale a tad. It is, after all, the proper time of year for fabricated legends, cobbled narratives, boldfaced lies and egregious effusions of exclamation points, is it not?
Yes, according to various traditions, it is!!!!!!!!!!!!!! And so, I offer: "Santa's Secret Service Flies First Class, or An Alternative Explanation for Ocular Ruin"
A Christmas story consisting, like so many others, of total bullshit.
The blogging couple that keeps Garden Melodies recently posted their latest feat, a model of Frank Lloyd Wright's most famous work, the Fallingwater house in rural Pennsylvania. Daring and delicious, it cantilevers out over a Bear Run made of green icing. Yummy holidays everyone. (BoingBoing)
L.A.-based illustrator and former Pratt student Rob Sheridan creates creepy, clean, retro scenes filled with monsters, aliens, video game characters and children, some of whom meet unfortunate ends, like the tots in his seasonally (in)appropriate work above, "Presents Opening Children" (2010), which, BTW, is available as a print if you're looking for the perfect late-holiday gift. Inexplicably, you can't have it shipped pre-wrapped in a child. (DesignYouTrust)
Last night awesome Williamsburg artist-run gallery and zine shop Cinders Gallery hosted a closing party for Maya Hayuk's neon-hued, Rorschach-shaped, black light-lit exhibition Heavy Light. It wasn't just any old closing party, though: the gallery is being forced to leave the space at 103 Havemeyer that it has called home since opening in 2004 at the end of the month due to an exorbitant rent hike. So last night was the penultimate party at one of Williamsburg's only remaining DIY art spaces, with only December 30th's "103 Havemeyer FUNeral" remaining (see you there!). Plans for the next space were already a hot topic last night, though.
Posted
by Henry Stewart
on Thu, Dec 23, 2010 at 12:03 PM
The Best Of lists are finished; the polls, voted in. But Henry Stewart is still scrambling to catch up with some of the movies he missed in 2010, at least so he can tell you whether to bump them up in your queue or feel guilt-free for deleting them. Today, he discusses Claude Chabrol's swan song,Inspector Bellamy.
You could almost call this movie Inspector Nick Charles: though it's peppered with minor profundities, it's an airy trifle—a warmly written and acted jumble of character studies. Claude Chabrol reportedly wrote this engaging, popular-appeal potboiler for star Gerard Depardieu who, now thick with age (and a nose like Karl Malden, mon dieu!!), plays a famous-but-retired police detective pulled into a Chandler-esque mystery, filled in with fleshed-out characters—as per usual with Chabrol, the story is far less important than the people in it. (The story includes a lot of fraternal bickering, sibling rivalry with a no-good brother who, in the film's best joke, arrives in the middle of the night with ominous Tchaikovsky music blaring...from the taxi! "Could you turn that down please?")
Antawn "Big Boi" Patton was in town last night in support of one of the best albums of 2010, but when he, his DJ and hype man took the Terminal 5 stage around 9:35 they launched into a feverish medley of songs from at least a decade ago. Big Boi tore through a suite of classic Outkast tracks, barely pausing between "ATLiens," "Rosa Parks," "So Fresh, So Clean," "Mrs. Jackson," "B.O.B." and others, much to the delight of a very young, very white and very drunk audience that seemed more familiar with Stankonia than Sir Lucious Leftfoot—I've honestly never seen so many fights at a hip-hop show before, not even at a raucous Alkaholiks show four years back. Last night's set was a simple three-man show, spinning from early Outkast to recent solo material and points in between for just over an hour.
Posted
by Keith Wagstaff
on Thu, Dec 23, 2010 at 9:43 AM
The Brooklyn backlash continues! Steve Cuozzo, the grumpiest critic at New York's trashiest paper, thinks Williamsburg is overrated. Legitimate criticism or red meat for his audience of semi-literate mouth-breathers?
Its restaurants wouldn’t receive one-sixteenth the attention they get if so many food writers and bloggers didn’t live there or nearby. There are better places to eat in Red Hook, Downtown Brooklyn and in unfashionable Bensonhurst and Bay Ridge. The stomping ground of subsidized slackers who spend fortunes trying to look poor, Williamsburg needs a one-year media blackout. Maybe it will encourage restaurants to prepare themselves for real-world scrutiny.
True Grit: I've managed to somehow avoid seeing True Grit through this point (thanks, office holiday party!), so I guess this will be my Christmas present to myself. It's a Coen Brothers western starring a who's-who of Coen alums and people who should be Coen alums by now (I guess by that I really just mean Matt Damon—but seriously, how did he go this along without jumping into the Coen orbit?), so not much consideration about whether this will be awesome is really warranted, except whether old people might avoid it out of misguided loyalty to the John Wayne version that won him an Oscar at the end of his career. It seems unlikely, though, that old people who haven't had the opportunity to see a big star-laden western in years, let alone on Christmas, would look a gift horse (see what I did there?!) in the mouth.
Yes, I know it gets tiresome when we continuously champion our favorite chefs, but I just had to share this series of videos I recently found on the internet. In them Jason Marcus, executive chef of Traif, one of the L Mag's top five Brooklyn restaurants of 2010, makes his delicious bacon donuts for one Josh Ozersky. Now, I used to work with Mr. Ozersky over at the sadly defunct Feedbag and he is not one to lavish hype on hip new Brooklyn restaurants. He did, however, seem to enjoy his puffy donuts that had been sprinkled with bacon and served with coffee ice cream.
If you've visited the Brooklyn Museum at any point in the last six months or so you know that the Great Hall—that huge glass-ceilinged room right after you enter, next to the gift shop—has been either partly or entirely blocked for construction. This morning bloggers@brooklynmuseum posted progress shots from the architects Situ Studio, who are designing an installation titled reOrder for the Hall's reopening on March 5, 2011. Sixteen of these sculptural installations—at once evocative of Victorian dresses and vaguely Christo-esque with their billowing, wrapped forms—will fill the Great Hall, which will be an incredible sight judging by the first full-scale mock-up Situ recently completed in a donated Midtown space (pictured). See it alongside a rendering of the final product, after the jump.
Posted
by Mark Asch
on Wed, Dec 22, 2010 at 2:31 PM
Indiewire's annual film poll, which started a few years ago to pick up the alternative press's stock-taking slack during a transition period for the Village Voice film section, now shares an overwhelming number of its voters with the reconstituted Village Voice Media poll, so it's no surprise that both indiewire's voters (of which I'm one) and the VVM's have picked Fincher's Sorkin's The Social Network as the year's best. (The usual suspects—Edgar Ramirez, Jacki Weaver, etc—are the same in the acting categories as well.)
The more interesting stuff is going on in the margins.