Exhibition

Birds, Beacons Of Good Fortune

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Necklace, designed by Tone Vigeland (Norwegian, born 1938)

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Book, Histoire naturelle des oiseaux de paradis et des rolliers: suivie de celle des toucans et des barbus (Natural History of Birds of Paradise and Rollers: Followed by that of Toucans and Barbets), Volume 2; 1806; Written by François Levaillant (French, 1753–1824); Illustrated by Jacques Barraband (French, 1767–1809); Smithsonian Libraries, QL674.L65 1806

An exhibit at the Cooper Hewitt comes to my attention thanks to Dylan Kerr, whose essay The Mandarin Duck and Avian Art at the Cooper Hewitt makes an interesting link between the choices Rebeca Mendez made as a curator and a recent unusual bird sighting in New York City:

For the past several weeks, New Yorkers have been abuzz over a mysterious visitor. A mandarin duck, an intricately colored waterfowl native to East Asia, has taken up residence alongside the mallards in the Central Park Pond, drawing crowds and inspiring memes, dog costumes, and a Twitter account (bio: “I’m not from around here”). Pundits have argued that the frenzy betrays a desire for good news. But perhaps, the Mexico City-born designer Rebeca Méndez suggested the other day, something deeper is at play. “In our own normal life, we have patterns that we are so used to.

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Sidewall; 1905–13; Manufactured by Zuber & Cie (Rixheim, Alsace, France); Block-printed on paper; Gift of James J. Rorimer, 1950-111-10

My immediate reaction is yes. We are bombarded with more negative information more quickly, more constantly than ever in my lifetime. We need relief, and nothing like an exotic bird coming to town to bring it:

When something”—an anatine interloper, say—“comes in and breaks that, it’s incredibly exciting,” she said. “The world suddenly collapses—it’s like a wormhole from far-east Asia to Manhattan.”

Méndez recently curated an exhibition of avian art at the Cooper Hewitt, Smithsonian Design Museum, across the street from the Park. It’s part of the “Selects” series, in which the museum invites a guest to put together a show from objects in its collection. Continue reading →

The Climate Museum’s Climate Signals

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My only wish is to have been able to share this earlier, during the exhibition’s run. But better late than never.

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The “Ask a Scientist” event gives curious passerby the chance to pose their climate-related questions to scientists stationed around New York City. Photograph by Justin Brice Guariglia

Thanks to Carolyn Kormann for another fresh dose of creative rational thinking, with her short piece Ask a Scientist: How to Deal with a Climate-Change Skeptic:

On a recent drizzly, cold Saturday, a climate scientist named Gisela Winckler was standing at Beach Ninety-fourth Street, in Rockaway, Queens. The ocean behind her was gray-green, uninviting, confused, the wind blowing hard onshore. A flock of surfers bobbed in the waves, a scattering of people strolled. Next to her, a huge black-and-orange L.E.D. roadwork sign flashed a series of messages: “climate denial kills”; “abolish coal onialism”; “vote eco logically.” “I thought we would be getting a lot more questions, actually, about these specific messages,” Winckler said. “This one, for example, is pretty complicated.” The L.E.D. sign read “human agenda ahead.”

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Credit: Justin Brice Guariglia

The sign, which was solar-powered, was part of “Climate Signals,” a citywide installation by the artist Justin Brice Guariglia, presented by the Climate Museum in partnership with the Mayor’s office. Winckler, in a red leather jacket, the wind whipping her long brown hair, was taking part in “Ask a Scientist,” an event co-hosted by the museum and Columbia University’s Earth Institute, where Winckler works. Other scientists were stationed at nine other roadwork signs, situated across the five boroughs, in prominent and iconic public spaces: the 1964 World’s Fair Unisphere, in Queens; a former illegal dumping ground in the Bronx; Governor’s Island. The scientists at each post had handouts with “climate-communication tips,” such as “How to deal with a climate skeptic.” (One suggestion: look for common ground, i.e., how “we all depend on the same planet for our survival, and all of us want a good outcome.”)

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Credit: Justin Brice Guariglia
Snug Harbor, Staten Island, NY

One man rode by on his bike, staring at Winckler, then circled back and dismounted. “It says I can ask a scientist a question?” he said emphatically, indicating a banner hanging from a table in front of Winckler. She nodded. “I just got back from a cruise on the Rhine River, from Amsterdam to Frankfurt. Whole time there, in Germany, it was eighty-five degrees. I’m, like, ‘Eighty-five degrees! What’s going on here?’ They haven’t had rain in two months. The water levels were so low! Only twenty-five inches of water! Why? I’m asking you, why?” He was practically shouting. Continue reading →

On A Lighter Patrimonial Note

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“Cabinet of Curiosities” by Frans Francken the Younger, circa 1620-25. Credit Mustafah Abdulaziz for The New York Times

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Exhibition view of “Spitzmaus Mummy in a Coffin and other Treasures.” © KHM-Museumsverband.

Yesterday’s post about pre-history sleuthing coincided with my reading about this new exhibition. In our home we have a cabinet of curiosities. I also tend to like Wes Anderson films. So I had to learn more.

What is a spitzmaus, how might one have gotten mummified, and who put it in a coffin? More to the point, when and where might I see such a thing? Will it be worth the journey?

The review of this exhibition has more of a fashion review feel to it, especially with the headline photo (below, at the start of the review) and mention of celebrities in the early paragraphs. It almost made me bypass the story. But credit to Cody Delistraty for letting Mustafah Abdulaziz’s excellent photos from the exhibition speak prominently throughout the rest of his review. There are a couple of one minute videos that make clear the answers to the latter two questions:

 

The one above has a fleeting sense of Wes Anderson to it, whereas the one below is straightforward curator-speak:

 

 

But still, what is a spitzmaus?

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Wes Anderson with his partner, the author and designer Juman Malouf, at the opening of the exhibition they curated. Credit Mustafah Abdulaziz for The New York Times

Wes Anderson, Curator? The Filmmaker Gives It a Try

Mr. Anderson and his partner, Juman Malouf, were given free rein in Austria’s largest museum. But you can’t make an exhibition as you would a movie, our critic writes.

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The exhibition “Spitzmaus Mummy in a Coffin and Other Treasures” was put together from objects in the collection of the Kunsthistorisches Museum, Austria’s largest. Credit Mustafah Abdulaziz for The New York Times

VIENNA — Wes Anderson looked tired. The filmmaker was wearing a red blazer and a striped tie, standing beneath the elaborate 19th-century cupola of the Kunsthistorisches Museum. His partner, the author and designer Juman Malouf, was by his side.

Dozens of friends — the actors Tilda Swinton and Jason Schwartzman; the filmmaker Jake Paltrow; and a pair of lesser-known Coppolas among them — stood around him. Photographers jostled for angles.

It wasn’t a movie premiere, but the exhibition opening for “Spitzmaus Mummy in a Coffin and Other Treasures,” which Mr. Anderson and Ms. Malouf curated, certainly had the air of one.

Mr. Anderson and Ms. Malouf were asked to put the show together from objects in the collection of the Kunsthistorisches Museum, Austria’s largest. When Mr. Anderson stepped up to the microphone on Monday to address the guests, it was with the weariness of someone who had gone to battle and come back changed. Continue reading →

If You Happen To Be In Mexico City

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A jar of dye and some red yarn colored by cochineal, part of the Mexico City show. Marco Ugarte/Associated Press

Colors used in dyes and paints in earlier centuries came from various organic and inorganic sources, and this particular red comes from an insect. An exhibit with this “Mexican red,” highlighting the relationship between nature’s sources, artists and their patrons, strikes us as as good a reason as any to curate a show:

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Van Gogh’s “Bedroom in Arles, Third Version” (end of September 1889), which uses cochineal. The artist likened the color to the “red of wine.” Musée d’Orsay, Paris

MEXICO CITY — Along with silver and gold, the first ships that sailed from the New World after the Spanish Conquest carried another treasure: a natural dye that produced a red so intense that European artists quickly embraced it as their own.

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“Bonjour, Monsieur Gauguin” (1889), by Gauguin, is on display in “Mexican Red,” though its use of cochineal has not been confirmed. Hammer Museum, Los Angeles

The trade in this dye reaped vast riches for the Spanish crown and supplied the crimson palette that would color the sacred and secular art of Europe for more than three centuries.

An exhibition that runs through Feb. 4 at this city’s Palace of Fine Arts, “Mexican Red, the Cochineal in Art,” traces the journey of the color from the highlands of pre-Hispanic Mesoamerica to Europe. There, it became increasingly associated with the projection of power in the 17th and 18th centuries. Cochineal fell into decline in the 19th century, as synthetic dyes were introduced, but was sought out later by the Impressionists. Continue reading →

Tradition and Memory, Handed Down Stitch by Stitch

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If you happen to be anywhere near the Philadelphia Museum of Art, you have a few more days to visit this extraordinary exhibit of Phulkari: The Embroidered Textiles of Punjab.

Thanks to Architectural Digest contributor Medhavi Gandhi for this informative and culturally sensitive article.

Philadelphia Museum of Art showcases the history of Punjab’s rich embroidery craft through ‘Phulkari’

Phulkaris, which literally translates into ‘flower work’, is a unique style or technique of embroidery peculiar to Punjab, and today constitute the lavishly embroidered head scarves and shawls crafted in the region. ‘Phulkari: The Embroidered Textiles of Punjab’ presents phulkaris from the collection of Jill and Sheldon Bonovitz alongside the Philadelphia Museum of Art’s permanent collection, focusing mostly on embroideries from a pre-partitioned Punjab.

The threads of phulkari have since endured much: partition, industrial reforms, changing economic and fashion trends, and the exhibition aptly helps you develop a perspective around all these.

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Curators Dr. Cristin McKnight Sethi and Dr. Darielle Mason position the craft as art, presenting phulkaris through the historical and cultural lens, thus offering a renewed contact with the old way of life; ceasing to be a commodity of high commercial value but more as a window into the lives of people.

In a brief issued by the Museum, Timothy Rub, The George D. Widener Director and CEO of the Philadelphia Museum of Art, said: “This exhibition, which examines the artistic, cultural, and political significance of phulkari, is long overdue and will certainly delight visitors who may be unfamiliar with this remarkable art form”. I couldn’t agree more, and here’s why: Continue reading →

Blue New Worlds

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As a company we have a long interest with the concept of non-permanent Art Installations .  Installed off the coast of Catalina Island, California, these particular interactive underwater sculptures were a collaboration with artist Doug Aitken , the Museum of Contemporary Art, Los Angeles (MOCA) and Parley for the Oceans.

Due to the temporary nature of the installations, they’re no longer in place but will reopen to the public soon, at a new location, in a new ocean.

Underwater Pavilions is artist Doug Aitken’s large-scale installation and collaboration with Parley consisting of three temporary sculptures submerged beneath the water’s surface. As a symbol and catalyst for the Parley Deep Space Program, the sculptures provide a portal into the marine realm that swimmers, snorkelers, and scuba divers can swim through and experience. Continue reading →

Another Hirst Heist?

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Head

HEAD OF IFE
Brass statue, from Nigeria (A.D. 1400-1500)
“It is one of a group of 13 heads, superbly cast in brass, all discovered in 1938 in the grounds of a royal palace in Ife, Nigeria, which astonished the world with their beauty. They were immediately recognized as supreme documents of a culture that had left no written record, and they embody the history of an African kingdom that was one of the most advanced and urbanized of its day.’’
Credit: Trustees of the British Museum

The first podcast I ever listened to was this one, back earlier in this decade.World100 Although neither the BBC nor the British Museum is maintaining the website, it is still there. I recommend getting ahold of the podcast that you can find here among other places.

Object #63 did not particularly stand out more than any of the others chosen for this innovative historical exhibit that I listened to without visual cues. But I do remember it because the description was as vivid as any (pasted after the jump). So, I am sorry to be reminded of this piece again due to the modern world’s confused and confusing approach to art as represented by this so-called bad boy (aka fraud), who is still at his naughty ways according to this news item today:

There’s controversy in Venice for Damien Hirst, the British artist who has occasionally drawn accusations that his pieces are not always wholly original but inspired by others’ work.

At the Venice Biennale this week, the Nigerian artist Victor Ehikhamenor accused Mr. Hirst of copying a well-known ancient Nigerian brass artwork, “Head of Ife,” found in 1938 in Ife, Nigeria, without giving it the proper historical recognition it deserves. Continue reading →

If You Happen To Be In New York City

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SPENCER FINCH LOST MAN CREEK

October 1, 2016 – March 11, 2018

SPENCER FINCH TO CREATE A MINIATURE REDWOOD FOREST IN THE HEART OF DOWNTOWN BROOKLYN

See the website of the exhibit at Public Art Fund for this description and more:

Lost Man Creek is a miniature forest. But rather than growing naturally and of its own accord, this undulating landscape populated by some 4,000 Dawn Redwoods is a recreation. Artist Spencer Finch partnered with the Save the Redwoods League to identify a 790-acre section of the protected Redwood National Park in California. Significantly scaling down the topography and tree canopy heights, he reimagined this corner of the California forest for MetroTech at a 1:100 scale. While the original trees range from 98 to 380 feet – taller than the buildings that surround the plaza – the trees in the installation are just one to four feet in height. Continue reading →

Fair’s Fare, More Than Fair

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The Salon de l’Agriculture, held every year in Paris, is also a political crucible. PHOTOGRAPH BY IMMO KLINK FOR THE NEW YORKER

It is our favorite annual edition of our favorite source of longform journalism, and this looks like it could be our favorite article from this year’s edition:

Come to the Fair

The food-and-booze fest that is France’s national agricultural exhibition.

BY LAUREN COLLINS

It would be a mistake to think of microtourism, the latest invented word to capture the imagination of the travel sector, as mere staycationing. The practice, as defined by a pair of design students in Denmark who recently completed a project on the theme, is a prerogative of a future in which “gas prices are so high that we must develop a new form of adventure that does not require travelling great distances.” Microtourism is not glamping (no yurt) or bleisure (no work) or minimooning (no wedding). Nor is it Netflix and putter. If a staycation means pajamas and the garden shed, microtourism means sneakers and the subway. Continue reading →

If You Happen To Be In New York City

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Whitney Museum of American Art. Photograph by Ed Lederman

Whitney Museum of American Art. Photograph by Ed Lederman

We have a thing for public spaces, especially when they combine with community activism. We try to get firsthand experience, and when we have learned enough about such places, we share what we can here. Ditto for museum exhibits, special library exhibitions, and unusual library thingys. It is not every day we get to announce the opening, or re-opening, of one of the greatest museums in the world, right in the midst of such a public space:

THE NEW WHITNEY OPENS MAY 1, 2015 BUY ADVANCE TICKETS NOW

The reviews convince us that this will be worth the visit, and this particular wording puts it in perspective:

The Whitney Museum of American Art, long the odd duck among the Big Four of Manhattan art museums—a cohort that includes the mighty Metropolitan, the starry Modern, and the raffish Guggenheim—takes wing on May 1st, when it reopens in a new, vastly expanded headquarters downtown. The fledging owes a lot to the Italian architect Renzo Piano’s ingenious building, on Gansevoort Street, which features six floors of shapely galleries, four open-air terraces, spaces for performance and screening, a library and reading rooms, a restaurant, a café, and an over-all feeling of seductive amenity—a bar on the piazza-like ground floor bodes to be one of the toniest trysting spots in town. It is likely to win far more fans than the Whitney’s old home, Marcel Breuer’s brutalist “inverted ziggurat,” which opened in 1966, on Madison Avenue, and which it vacated six months ago and leased to the Met. Piano’s museum stands at the southern end of the High Line and hard by the Hudson River, in what remains of the tatterdemalion meatpacking district. It looms like a mother ship for both gallery-jammed Chelsea, to the north, and the puttering West Village, to the south. It is instantly a landmark on the cultural and social maps of the city—and on its poetic map, as a site to germinate memories. Continue reading →

Stephan Brusche, Come To Kerala!

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Stephan Brusche (@isteef)

Stephan Brusche (@isteef) From left to right: tiger, WBD, elephant

Hospitality is in our DNA, but we always want to go the extra mile for the those who tickle our creative fancy. In fact, World Banana Day touches us on multiple dimensions, and we thank our newest contributor, Rosanna Abrachan, for bringing it to our attention.

Stephen Brusche is someone who clearly enjoys playing with his food, and scrolling through his gallery it was close to impossible to choose favorites from over 200 fabulously creative examples, crafted with a wink and smile at both the sacred and the profane. We settled on 2 of our iconic Kerala fauna above, but be prepared to lose yourself in the images when you visit his site. Continue reading →

Museums, Birds, Natural History–A Few Of Our Favorite Things

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Photograph by Jim Harrison Hornbills, including the Malaysian state bird, Buceros rhinoceros (right)

Photograph by Jim Harrison
Hornbills, including the Malaysian state bird, Buceros rhinoceros (right)

If you happen to be in Boston, and are one of our many bird-motivated readers, you may want to visit a place where birds have helped a great institution become greater:

THE GREAT MAMMAL HALL has been emblematic of the Harvard Museum of Natural History for decades. Traditionalists will be glad to know that the gorilla tirelessly pounding on his chest, the placid okapi, and the room-long whale skeleton are still in place, and birds still fill cases on the balconies that run all around the hall. But the birds are no longer solely the “Birds of North America,” as has been the case for ages. Like the University that houses them, they have become more cosmopolitan and are now “Birds of the World.”

“I’m staggered by their diversity,” said Maude Baldwin, a doctoral student

Continue reading →

Lighting Up Language

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Malayalam Project at Kochi Biennale

Malayalam Project at Kochi Biennale

As a language, Malayalam is a perfect example of form as function: its “loopy” forms seem to roll off the speaker’s tongue. The word itself is even a palindrome, reading forward and backward in a never-ending loop. The high literacy rate in Kerala is evident in the newspapers found in tea stalls at every corner, not to mention the ubiquitous walls painted with verbal signage in both urban and rural settings, and those signs often feel more like murals due to the graphic nature of the language itself. The Kochi-Muziris Biennale ’14 is the perfect platform to express this concept:

Among the various internationally-acclaimed installations at the Kochi-Muziris Biennale ’14 is Malayalam Project that strives to draw the world’s attention towards the regional language and script.

A partner project at the Biennale, Malayalam Project is a collaborative forum that experiments with Malayalam letterform and typography. Kochi-based firms Thought Factory Design and Viakerala have put together this typography cum graphic design exhibition in collaboration with Riyas Komu, secretary of the Kochi Biennale.

“In the digital era, where imagery is used to communicate ideas, words become canvas of graphic. We are looking at how Malayalam, which is either a sound or a text enters the visual age we live in,” said the creative director Theresa Joseph George.

Pointing out that her firms have done lot of research into the field of Malayalam typography, Theresa, who is also a graphic designer, says, “Malayalam script with its loopy curves provides immense scope for experimentation.” Continue reading →

Let Nature Do More Work For Us (Coconuts-R-Us)

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Kerala, the state in southwest India where many of Raxa Collective’s initiatives are located, is the “land of coconuts” if you translate the state’s name literally from Malayalam (the language of Kerala) to English.  This article in today’s Hindu highlights the introduction of a new bi-product of coconuts at the annual trade fair (click the image above to go to the trade fair’s brochure):

Coir-based organic acoustic panelling system developed

SARATH BABU GEORGE, January 30, 2015

In what could be a major boost to the coir industry, the National Coir Research and Management Institute (NCRMI) has developed a coir-based organic acoustic panelling system.

Christened ‘ACCOIR’, the acoustic panels have been designed in collaboration with the Institute of Indian Interior Designers (IIID) and the National Institute for Interdisciplinary Science and Technology (NIIST), a constituent laboratory of the Council of Scientific and Industrial Research (CSIR). Continue reading →

Musical And Photographic Patrimony

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We are always moved by exhibitions that intersect our interest in cultural and historical patrimony, as in the case of this event at the Foley Gallery (which comes to our attention thanks to the New Yorker‘s coverage of the arts):

Lisa Elmaleh first heard Appalachian folk music in 2010, and “it stirred something in my soul,” she told me. Since then, she has followed folk musicians from Ohio to Georgia, capturing them with her nineteen-forties Century Universal 8 x 10 camera and the hundred-and-fifty-year-old tintype process. Continue reading →

If You Happen To Be In London

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Tate Britain: Exhibition

10 June – 31 August 2014

During the next few months the exhibition will be at the Tate, and then moving to at least one other venue:

Discover the extraordinary and surprising works of some of Britain’s unsung artists in the first major exhibition of British folk art.

Steeped in tradition and often created by self-taught artists and artisans, the often humble but always remarkable objects in this exhibition include everything from ships’ figureheads to quirky shop signs, Toby jugs to elaborately crafted quilts. Continue reading →

If You Happen To Be In Norwich

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An egg mistakenly cracked by Charles Darwin is among the items in The Wonder of Birds exhibit. Photograph: Norwich Castle Museum & Art Gallery

An egg mistakenly cracked by Charles Darwin is among the items in The Wonder of Birds exhibit. Photograph: Norwich Castle Museum & Art Gallery

Thanks to the Guardian for pointing us to an exhibition that will be of interest to ornithologically-inclined readers of this blog:

It is an unassuming object, a smallish, strangely glossy brown egg, and it is broken because of the carelessness of the last person you would expect – Charles Darwin.

“He squashed it into too small a box and it cracked, unfortunately,” said curator Francesca Vanke, explaining the state of the spotted tinamou egg going on display at Norwich Castle Museum and Art Gallery.

The object is the only known surviving egg from Darwin’s HMS Beagle voyage during the 1830s. Probably drawn to its glossy sheen, Darwin signed it C. Darwin and brought it back to Britain after collecting it in Uruguay. Continue reading →

If You Happen To Be In Philadelphia

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We are on a Prosek roll…Currently, through June in Wood Gallery 227 at the Philadelphia Museum of Art, you can experience an exhibition dear to the heart of many members of Raxa Collective’s team in South Asia, and travelers from around the world, from the artist’s 2008 work:

The Peacock and the Cobra, a portfolio by artist and naturalist James Prosek (American, born 1975), forms the centerpiece of this exhibition. Also on view are a variety of painted pages and other objects from the Museum’s rich collection of art from India and Pakistan. While Prosek is not himself South Asian, the narratives that compose The Peacock and the Cobra invoke a range of ideas and images from the subcontinent. Continue reading →

If You Happen To Be In Washington, DC

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At the Smithsonian, there is an exhibit specially made for the yoga aficionados of the modern world, with just a few weeks more to go:

Yoga: The Art of Transformation

October 19, 2013–January 26, 2014

Arthur M. Sackler Gallery

Yoga is a global phenomenon practiced by millions of people seeking spiritual insight and better health. Few, however, are aware of yoga’s dynamic history. Opening this fall at the Smithsonian’s Arthur M. Sackler Gallery isYoga: The Art of Transformation, the world’s first exhibition of yogic art. Temple sculptures, devotional icons, vibrant manuscripts, and court paintings created in India over 2,000 years—as well as early modern photographs, books, and films—reveal yoga’s mysteries and illuminate its profound meanings. Continue reading →

If You Happen To Be In London

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Stephen White. Dayanita Singh with her ‘Museum of Chance, 2013: Go Away Closer’ exhibition at Hayward Gallery in London, United Kingdom.

Stephen White. Dayanita Singh with her ‘Museum of Chance, 2013: Go Away Closer’ exhibition at Hayward Gallery in London, United Kingdom.

It looks like our kind of exhibition (thanks to India Ink for the reference):

During a recent visit to the Hayward Gallery in London, two vendors’ carts were parked against a wall, and a row of visitors stood with their backs to them as they read the introduction to “Go Away Closer,” unaware that the carts were part of the exhibition featuring the works of the photographer Dayanita Singh. Continue reading →