Hong Kong's harbourfront is known for glistening skyscrapers and the sight of containerships navigating busy shipping lanes -- but a new art project has added a giant pumpkin, a map of the stars and a pair of disembodied legs to the famous skyline. The Harbour Arts Sculpture Park, which officially opened on Thursday, is a collection of works by 19 local and international artists including Britain's Antony Gormley and Tracey Emin, Japan's Yayoi Kusama, as well as Jenny Holzer and Hank Willis Thomas from the United States. The series of installations aims to increase public access to art in a city known more for its exclusive high-end galleries and lucrative auctions. "I think public art is a unique place to make a statement and I wanted to make a work that people could inhabit and basically become a part of," said Willis Thomas, perched inside a large metal speech
Anne-Mie Van Kerckhoven (also known as AMVK) is an artist of singular complexity. Born in 1951 in Antwerp, where she still lives and works, she has been active since the 1970s as a visual artist, graphic designer and performer. She has always been a pioneer. She should, first and foremost, be considered an artist for the future. AMVK’s practice is truly interdisciplinary. Her first arena was drawing. She has collaborated with cutting-edge scientists for more than 40 years. In 1981, she and the artist Danny Devos founded the noise band Club Moral, which performed actively for ten years. It was revived in 2001. Under the same title, the pair organised numerous events in Antwerp until 1993. They have also published the magazine Force Mental since 1982. Such collaborations aside, self-organisation and self-analysis are fundamental to AMVK’s work. Her creative
Crystal Bridges Museum of American Art announces the appointment of Jennifer Padgett as assistant curator. Padgett accepts the assistant curator position following previous roles at Crystal Bridges including research assistant in the curatorial department and a 2016 Tyson Scholar fellowship. As a research assistant, she authored entries for a forthcoming publication of collection highlights and contributed label text and digital interpretation content for the reinstallation of the Early American Galleries, among other projects. As assistant curator, Padgett will contribute to exhibition planning, publications, research, and growth of the collection, with a particular focus on American art from the 1900s through 1960s. She will help develop focus exhibitions and plan installations in the permanent collection galleries, including a project to reinstall
Bold and colourful examples of British painting and sculpture from the 1960s form part of a new exhibition at Liverpool’s Walker Art Gallery. Kaleidoscope: Colour and Sequence in 1960s British Art, a touring exhibition from the Arts Council Collection, runs from 24 February until 3 June 2018. Works on show include sculptures by artists such as Eduardo Paolozzi, Anthony Caro, Kim Lim and Phillip King, alongside paintings by Bridget Riley, Tess Jaray, Joe Tilson and Mary Martin among other leading names. Much British abstract art of the 1960s is noted for its use of vivid colours, alluring surfaces and unpredictable forms. However, these qualities are often underpinned by a strong sense of order, founded on repetition, sequence and symmetry. The exhibition explores the relationship between colour and form, rationality and irrationality, order and waywardness.
Newport Street Gallery is presenting an exhibition of work by British artist Rachel Howard (b.1969). The show is the first UK exhibition of Howard’s series of paintings, ‘Repetition is Truth – Via Dolorosa’. This body of work was the subject of a 2011 exhibition at Museo d’Arte Contemporanea Donnaregina, Naples, Italy, curated by Mario Codognato. Commissioned by the Murderme collection and produced between 2005 and 2008, the series takes inspiration from the Stations of the Cross, ‘Via Dolorosa’ being the path taken by Jesus to Mount Calvary. Whilst referencing the long art-historical tradition of depicting the Stations, ‘Repetition is Truth’ also offers a broader commentary on the universality of human rights abuses. Religion, repetition, mortality and violence – particularly controlled violence – are enduring themes in Howard’s work.
Paddle8 today announced The Oscar Goes to: Posters, a sale of iconic film posters celebrating nearly sixty years of cinematic artwork. Timed to the 90th Academy Awards, the commemorative sale features posters of blockbusters including Rebecca by Alfred Hitchcock winner of Best Picture in 1940 and Midnight Cowboy by John Schlesinger winner of Best Picture in 1969. Other celebrated film posters showcased in the sale include Star Wars (1977), Bullitt (1968), 2001: Space Odyssey (1968), The Hustler (1961), All About Eve (1950) and Cabaret (1972). Midnight Cowboy is a groundbreaking film that changed the Hollywood landscape forever. The first and only X-rated film ever to win Best Picture and Best Director, it features controversial and transgressive themes of prostitution, homosexuality, drug abuse and revolutionized mainstream cinema in the 1970s.
The work of Taryn Simon (b. 1975) results from rigorous research guided by an interest in systems of categorization and the precarious nature of survival. A multidisciplinary artist who has worked in photography, text, film, sculpture, and performance, Simon turns our attention to the margins of power, where control, disruption, and the contours of its constructedness become visible. She reveals the imperceptible space between language and the visual world—a space in which multiple truths and fantasies are constructed, and where translation and disorientation occur. The technical, physical, and aesthetic realization of her projects reflects the control and authority that are the very subject of her work. Often invoking the form of the archive, Simon imposes the illusion of order on the chaotic and indeterminate nature of her subjects.
Marianne Boesky Gallery is presenting Invito a Tavola, an exhibition dedicated to the work of artist Maria Lai (1919–2013). The exhibition highlights Lai’s career-long commitment to community, from her early drawings depicting the women of her hometown in Sardinia to a major late-career installation that invokes ideas of communion and for which the exhibition is titled. Invito a Tavola marks Lai’s first solo exhibition in the U.S. since 1956, and provides an intimate portrait of the late artist through one of the most enduring themes from her illustrious sixty-year practice. The exhibition is the first organized by the gallery since it commenced representation of the artist’s archive in November 2017. The exhibition is anchored by the installation Invito a Tavola (The Invitation Table), which is comprised of a large-scale table, measuring approximately nine feet in length and three feet in width, set
Galerie Lelong & Co. is presenting Mildred Thompson: Radiation Explorations and Magnetic Fields. This is the American artist’s first solo exhibition in New York. The exhibition highlights Thompson’s Radiation Explorations and Magnetic Fields series – two significant and thematically linked bodies of work that exemplify the artist’s signature approach to abstraction. A catalogue has been published in conjunction with the show with essays by Melissa Messina, Curator of the Mildred Thompson Estate and the exhibition’s curatorial collaborator, and Lowery Stokes Sims, Curator Emerita at the Museum of Arts and Design. Concurrently, the gallery will present a solo booth of paintings from the Magnetic Fields series alongside works on paper from 2003 for the 2018 ADAA Art Show. With a career spanning over four decades, Thompson created work inspired
The Museum of Contemporary Art Chicago presents the first major survey of the work of groundbreaking, multidisciplinary artist Howardena Pindell. The exhibition spans the New York-based artist's five-decades-long career, featuring early figurative paintings, pure abstraction and conceptual works, and personal and political art that emerged in the aftermath of a life-threatening car accident in 1979. Tracing the themes and visual experiments that run throughout Pindell's work, the exhibition shows how she challenged the traditional art world and asserted her place in its history as an African-American woman artist. Pindell revolutionized painting from her early, radical explorations of color and shape to her later work that expanded to address human rights injustices such as war, famine, homelessness, racism, and the AIDs crisis. Howardena Pindell: What Remains To Be Seen is co-curated by MCA Curator Naomi Beckwith and Valerie Cass