Contemporaneous Extension


“Summer afternoon…the two most beautiful words in the English language”

In the wake of this stunning week in New York and my first official sunburn, Summer is looking promising as ever. There are quite a few things, even in the earliest incarnation of the season, that are worth putting on the calendar.

– First and foremost, 3rd Ward is celebrating five years of workshops, exhibitions, musical glory, and bikes! They’re having a BBQ to celebrate on May 21st, come join me for burgers and crafts!

– The Whitney is breaking ground for their new facility downtown on Gansevoort Street on May 24th, and holding events from the 19th through the 27th of May in honor of the occasion. Most intriguing is Community Day, taking place on the 21st, that will culminate with a party hosted by CHERYL at Hiro at the Maritime Hotel. CHERYL is apparently “known for staging ‘dance parties that will ruin your life'” (according to the press release), so don’t expect to leave without a torn shirt, bruises, or a new-found existential connection to the Whitney.

– The Guggenheim teamed up with students from Columbia University and the School of Visual Arts to present stillspotting nyc, “a two-year multidisciplinary that takes the museum’s Architecture and Urban Studies programming out into the streets of the city’s five boroughs.” Every few months, a new “stillspot” will be pinpointed and created, serving to unite disciplines in order to acknowledge and challenge the anxiety of our oftentimes enigmatic city. Pedro Reyes was chosen as the inaugural project, running for 2 long weekends (June 2-5 and 9-12), is entitled Sanatorium. Fascinated by the New Yorker’s commitment to therapy and self-help, Reyes created a restorative facility that allows visitors to choose several treatments for a 2-hour visit and chill-out sesh. The press release explains a few options available:

“Balancing reality and parody, Sanatorium draws from Gestalt psychology, theater warm-up exercises, Fluxus events, conflict resolution techniques, trust-building games, corporate coaching, psychodrama, and hypnosis.”

Anxiety and stress is a natural and unavoidable component of the city, I cannot wait to see how both students and more established artists, designers, composers, engineers, choreographers, etc approach relieving said tension. We could all use it.

Boris Mikhailov’s series Case Studies is coming to the MoMA from May 26 through September 5. The series, generated in 1997-1998, looks into the homeless population in the Ukraine that sprouted as a result of the fall of Communism. In New York, homelessness is nothing new, and despite often overlooking the true degree of need in this city, it is impossible to ignore. There is shortage of burn-outs, latchkey kids obnoxiously hustling for a new tattoo, but also people in seriously unfortunate situations. The revitalized Soviet infrastructure, infiltrated by capital and modernity, legitimately formulated a new social class. I’m intrigued to see if the images relegate or uplift this fallen class, and how the society reacts to them despite being equals only years before. It’s almost an anthropological study, connecting to his soul and the pride he has (i assume) for his nation. Should be a great show.

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

BORIS MIKHAILOV, 'Untitled,' from the series Case History (1997-98), Chromogenic color print, 58 7/16 x 39 3/16"

L’Amour Fou, a documentary directed by Pierre Thoretton, is debuting today at IFC. It discusses the settling of Yves Saint Laurent’s estate, accompanied by the thoughts and narration of his partner Pierre Bierge. Their extensive collection of art, wares, and beautiful delicacies of life’s journeys are a testament to their intuitive capacities for aesthetic satiation. (Shout out to Nicky6, my YSL guru, for getting this on my radar)

– Although this last adventure is definitely far off in the future and in no way, shape, or form nearby, but I’m putting it in here so I can maybe (hopefully) weasel my way across the pond to catch it. London’s National Gallery is hosting an exhibition of Leonardo da Vinci’s work in the Milanese Court from November 9 through January 11, 2012. Interestingly enough, the Gallery is also implementing capped audience sizes of 180 people every half hour in order to facilitate a more thorough viewing experience. There will also be generously extended evening hours, the full spectrum of wall texts and essays online, and advanced ticket sales to enable a steady flow of aesthetes. If anyone wants to sponsor my trip, I’m open to suggestions…

Leonardo da Vinci, 'St Jerome,' 1488-1490, oil and tempura on walnut panel, 41 in × 30 in.

Leonardo da Vinci, 'St Jerome,' 1488-1490, oil and tempura on walnut panel, 41 in × 30 in.

Leonardo da Vinci, 'Sketch of a Youth (used for the Head of Saint James) with Designs for Fortifications,' ca. 1492-4, ink.

Leonardo da Vinci, 'Sketch of a Youth (used for the Head of Saint James) with Designs for Fortifications,' ca. 1492-4, ink.

Leonardo da Vinci, 'Madonna Litta,' ca 1490, oil on canvas, 17 in × 13 in

Leonardo da Vinci, 'Madonna Litta,' ca 1490, oil on canvas, 17 in × 13 in

Leonardo da Vinci, 'A Rocky Ravine,' ca. 1480-3

Leonardo da Vinci, 'A Rocky Ravine,' ca. 1480-3

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