Governors Island Wonderful Art Show

Visual Playground 2, Marek Jacisin

Once again, the annual art fair on Governors Island, organized by 4heads has lots to offer. Featuring work by 100 artists from the US and abroad, spread across five buildings in Colonels Row, as well as in the windows of Ligget Hall, and on the lawns between them (like Marek Jacisin‘s piece above), this show contains many, many fine works. Very often the artists are also present, so you have a chance to talk with them.  The styles and techniques are quite varied, so look in each room – even if you haven’t found something you like on the first floor of a building, go up to the second floor – I guarantee you’ll find something completely different. Leave yourself plenty of time to explore this exhibit. Here are some of my favorites:

Royalty, Zeren Bader, 2014, archival print on metallic paper

In Building 404B, Zeren Badar has created a series of 23 imaginative and fun photos, entitled Messing With Old Masters, in which he takes images of old paintings and embellishes them with objects such as eggs, or macaroni, or rubber bands, then photographs the new image, which, by throwing you off balance, makes you look at portraiture in a new way! 

Anna Cone and Zeran Bader

While I was talking with Zeren, another artist, Anna Cone, whose work is in the next building, and explores similar themes, came in to see Zeren’s work. (more about her work later)

Portrait of Shirley Chisholm by the Lower East Side Girls Club

On the second floor, the Lower East Side Girl’s Club was exhibiting prints of Women who Change the World, a mural created on the walls of the First Street Garden in 2011 by teenage Girls Club members and artists who painted portraits of 19 women who inspired them, including Justice Sonia Sotomayor, Dorothy Day, Shirley Chisholm, Rosa Parks, and Congresswoman Nydia Velazquez.

Spatial Magnetic Field Visualization, Inhye Lee and Hyomin Kim, interactive installation

In Building 405A, the scientific-based art collaboration of  Inhye Lee & Hyomin Kim have two pieces in this show that reference the earth’s magnetic field.  The Spatial Magnetic Field Visualization above consists of about 100 ball compasses inside transparent globes – the black and white on the balls indicate their polarity, mimicking the magnetic files around the earth. (They have a printed sheet with a more detailed explanation). They also have a Magnetic Field Drawing Station which is pretty cool. 

Fire, by Richard Sigmund

On the second floor you’ll find Fire by Richard Sigmund, a series of drawings that are variations on this word.  Richard had been intrigued by all the “fire” signs that are painted on the roadbeds in New York.  On a visit to India, he thought about this word, which can represent purification, death and emotions, and so each day he did a sketch of the word “fire”. 

Pink Collar Worker, Paola Citterio, metal chain with wool fibre

On the porch of Building 406 B, you’ll find a wonderful work in metal chain and wool by Paola Citterio, but it was her Pink Collar Worker inside that grabbed me, having worked many years as a secretary.  Paola made this piece using a baby blanket she found (it made her think of Vivienne Westwood) to which she added the metallic chain and the wool fibre lettering.  Paola dyes her wool, and felts it using a needle felt technique, which takes hours – but for her, the process is part of the art.

Anna Cone installation

On the first floor, Anna Cone has created a version of a salon/drawing room, filled with portraits of Disenchantresses, large scale modern nudes styled as goddesses, set against collaged images from Old Masters paintings, placed in antique-looking frames.  Using her background as a fashion photographer, Anna’s work pushes back against the images of “acceptable” women’s bodies that we’re saturated with, to include others that might be considered more “unconventional.”  Be sure to look at the chairs, which also contain collaged images from Old Masters.

Allison Sommers in her installation

In Building 407A, Allison Sommers has created a room that addresses movements in a domestic household, and the anxiety around house-making when you find yourself suddenly plopped somewhere.  I was not surprised when she told me she’s a military brat.  Allison offered no more by way of explanation of her installation, saying that she wants to leave it open to the viewer’s interpretation.  I confess I found her piece challenging, but I could relate to it on many levels.  Check it out!

Loteria de la Migracion, Tabla 2, Richard Fleming

In Building 408A, Richard Fleming has created a wonderful project, Loteria de la Migracion,  centered on migration from Central America. He has taken the Mexican card game Loteria and re-imagined each of the 54 cards as a series of obstacles and challenges facing migrants fleeing violence,  sometimes changing the images (i.e., a pear in the original Loteria becomes grapes in his version).  This project is based on his experiences as a sound recordist working in Chiapas.

Vornado, HYSTM, acrylic on wood

HYSTM is really two people: the New York-based art tag team of Keith Pine and Rich Zitterman, who work as one.  I spoke with Rich, who told me that either he or Keith will start a painting, then the other will add to it, and they will keep on this way until they think the work is done.  By the end of the process, neither one knows who started it, and often can’t remember which are their own contributions.  Rich said they get their inspiration from what’s around them, whether that’s TV or found images or their own imaginations. 

There’s much, much more to see.  The exhibit is open only on the weekends and only through October 1st.  More information on the ferries to Governors Island here .

Looking towards Brooklyn from Governors Island

Rebel Clay at Cavin Morris

Earlier this month, Cavin Morris Gallery opened a new exhibit, Rebel Clay, featuring some 60 non-mainstream ceramics.  The works were rendered in a wide variety of styles – whimsical, utilitarian, spiritual – with finishes that range from unfired natural clays in browns and grays to highly glazed, brightly colored pieces.  Below are some of my favorite pieces:

Shekinah, Straiph Wilson, 2016, ceramic

The show contains several highly glazed and brightly colored ceramic fungi by the Scottish artist Straiph Wilson.

Black & Blue #15, #13, #14, Kevin Sampson, 2017, porcelain, canvas, wood

Kevin Sampson, a self-taught artist and former police officer creates works that often address issues of social justice and cultural resistance. This piece made me think of the Nina, Pinta and Santa Maria, whose arrivals are the subject of much debate these days.

Untitled, Nek Chand, 1950-1980, concrete over metal armature w/mixed media

Nek Chand is known for his huge environment in Chandigarh, India with its thousands of expressive figures and exquisite architecture. I found this man he created from concrete absolutely irresistible, and so full of energy!

Seated Figure, Burgess Dulaney, ca. 1970-89, clay and marble

There’s something very appealing about Burgess Delaney’s Seated Figure, made from unfired clay from near his home in Mississippi.

Untitled (Head), Kazumi Kamae 2004, shigaraki stoneware

Kazumi Kamae was one of four Japanese Art Brut artists the gallery discovered when they visited the Yanomami Art Center near Shigaraki Prefecture in Japan.

Mask from Nepal, early 20th cent., cow dung, clay, organic materials

On one wall you’ll find five masks from Nepal, created in the early to mid-20th century using cow dung and clay.

This is a small sampling of the ceramics in this exhibit, which will remain up until  October 7th – but don’t wait until then to see it.  Cavin-Morris is located at 210 11th Avenue, Suite 201, in Chelsea.

Bronx Artists Residencies Exhibit

This summer, the Bronx Arts Space offered residencies (6 weeks studio space and a $500 stipend) to a group of six artists.  At the end of August, they held an exhibit of projects this inaugural group had worked on during their residencies. I had a chance to speak with three of the artists, and I definitely want to continue following their work.  Here’s why:

untitled, Alexis White, book pages and crayon

I was very attracted to Alexis White’s book-based work.  Against one wall were several works featuring  strong geometric patterns with vibrant colors – on closer inspection, these figures were drawn in crayon on the pages of a book.  Alexis began this series when her father, who works at a psychiatric facility, came home one day with a psychiatric book about “Children of Color.” 

Untitled, Alexis White, mixed paper and book collage

She also created a second collage series using pages from a found book (Les Etoiles by Alfonse Daudet), on which she pasted images cut from magazines.

Melissa Calderón’s embroidery art grabbed my attention immediately – it turns out her grandmother is a seamstress.  Melissa employs unconventional surfaces, such as wood, to create her sculptural embroidery pieces. Her work covers a variety of social issues, from the environment to housing. 

The Arctic Meltdown, Melissa Calderon, 1979-present, thread and wood

Against one wall is a series of 8 pieces, which show how the Arctic ice has been melting since 1979 and will continue to shrink through 2035, based on the Arctic Climate Impact Assessment from the National Snow and Ice Data Center.

The Bronx Housing Court Monster, embroidery on linen, Melissa Calderón

I especially liked The Bronx Housing Court Monster – the title and the image say it all!

 

diarama of room in Harlem with videos of Shilo, OH by Erica Bailey

Erica Bailey’s dioramas deal with transience and impermanence.  She exhibited two rooms: one a recreation of her childhood room in Shilo Ohio, and the other, her first studio apartment in Harlem. As the artist noted, she wasn’t the first person to live in these spaces, and she won’t be the last.  In the “windows” of each room are street scenes from the other location, demonstrating their connection despite their differences.

I’m looking forward to seeing what comes next from these three!

Ikebana at the UN

The Japanese Mission to the United Nations  has hosted a series of events with the theme “Peace Is…”  using art and culture as a medium for connecting people with the UN and its objectives.  The Permanent Mission of Japan has collaborated with Japanese artists residing in New York, who believe in the power of art to bridge divisions and bring people together. 

In celebration of the 50th Anniversary of ASEAN, “Peace Is Beautiful” guided the activities of this fourth event, which included a demonstration of Ikebana, led by Master Noritaka Noda of the Ikenobo Society of Floral Art. More than flower arranging, Ikebana is an elevated art form in Japan, using plants to create new forms suggesting the forces of nature and the beauty of longing in our hearts. Working with two assistants, Master Noda began with the tall leaves, then the flowers (coxcomb and iris), then the smaller leaves and finally the ferns, selecting, trimming, placing and bending them…

Noritaka Noda explaining his Ikebana arrangement to Hajime Kishimori

into an arrangement representing mountains, cascades, a town, a river and the beautiful landscape.   Afterwards, the ambassadors from ASEAN and the other guests were invited to make our own flower arrangements, assisted professional Ikenobo teachers. 

Liz Daly and Hitomi with their Ikebana

I was lucky to have the guidance of the very patient and gracious Hitomi, who helped me create this piece.

Dancers from ASEAN countries performed at Peace Is…

Attendees were also treated to a lovely performance of traditional dances from Cambodia, Laos and Indonesia.

Congratulations to the Permanent Mission of Japan for this excellent initiative!

World War 1 Through Artists’ Eyes

Poster by Howard Chandler Christy, 1917

The NY Historical Society  is also commemorating the 100th anniversary of the US’s entry into the First World War, with World War 1 Beyond the Trenches, a terrific exhibit of more than 55 paintings and posters from that era.  The show opens with works by Man Ray, George Bellows and Childe Hasssam. 

detail, Gassed, John Singer Sargent, 1919, oil on canvas

However, it is John Singer Sargent’s oil of blindfolded men who had been gassed that dominates the room, not only by virtue of its size at 7-1/2 ft x  20ft, but also because of his technical mastery and use of classical composition to capture the horror of the combat.  Sargent created this for a Hall of Remembrance in London, based on a scene he had witnessed at Arras in France, in 1918.  The show has more oils and some watercolors by Sargent, who toured the Western Front.

The Flag, Georgia O’Keefe, 1918, watercolor on paper

You’ll also find two intense, abstract works by Georgia O’Keefe, whose younger brother Alex fought in the war (he was gassed, and died ten years later).

The End of the War: Starting Home, Horace Pippin, 1930-33, oil on canvas

The use of very thickly applied paint makes the soldiers really stand out in Horace Pippin’s  depiction of German troops surrendering to African-American soldiers.  The collage effect is made more powerful by the frame, adorned with helmets, bayonets and other symbols of war.  It took Pippin, who was seriously wounded fighting with the Harlem Hellfighters, three years to make this painting.

Letter to Mr. Chasin, from Salvator Cilis, Camp Upton, October 1917

A display case in the center of the room features letters from soldiers like Salvator Cillis, describing and illustrating his experience in training at Camp Upton on Long Island (the “melting pot” camp), where he met many soldiers who had been born outside the United States, of “every race, color, religion and opinion”. 

Armistice, Times Square, Theodore Earl Butler, 1918 oil on canvas

In 1918, the Armistice was signed, and this oil by Theodore Earl Butler captures the energy of that day as New York City celebrated in Times Square.

The Subway, Walter Pach, 1919 oil on canvas

One of my favorites in the show is this 1919 oil by Walter Pach of the subway in post-war NYC, which captures how the City’s different ethnic and social groups came together on our public transportation system – if it weren’t for the period clothing, this could have been painted today.

The show also has a number of posters in a corridor off the main room.  The Committee on Public Information created over 20 million copies of some 2,500 posters, many of which were designed by the leading fine artists and graphic artists (Gerrit Albertus Becker, James Montgomery Flagg, Howard Chandler Christy) to be visually compelling enticements to support the war, exhorting men to enlist in the armed services, women to become part of the war effort, and everyone to buy Liberty Bonds.  Private organizations such as the YMCA and the Red Cross recruited women to be drivers, mechanics, and nurses, and to fill other positions left vacant by men who had gone to the front.

Colored Man is No Slacker, E.G. Renesch, publisher, 1918

Even though African-Americans were segregated in the armed forces, many nonetheless signed up to serve.  This poster was probably privately published, as the official recruiting materials rarely depicted black men or women.  (Slacker meant “draft dodger”)

detail, somewhere listening: Company B, 365th Infantry Regiment, 92nd Division A.E.F., 2014 graphite on paper, Debra Priestly

In the main lobby opposite the building entryway is a moving series of 212 charcoal sketches, arranged in 3 rows, that Debra Priestly made from photographs of the members of the 92nd Division, an African-American unit that fought in France, including Priestly’s great uncle.

There is much much more to see in this excellent exhibit, which is up until  September 3rd.  The NY Historical Society is located at 170 Central Park West and 77th Street.

A New Look at Tiffany Glass

detail, Poppy Shade, probably Clara Driscoll, 1900-06

I’ve never been a big fan of Tiffany glass, but I’m glad I saw the fabulous collection of 100  Tiffany lamps on the fourth floor The NY Historical Society.  It gave me an appreciation for the design, craft and technological innovation of Louis Comfort Tiffany, who developed his own opalescent sheet glass, which he manufactured in Corona, Queens.  While most of the artisans and designers of Tiffany Studios were anonymous, this exhibit highlights the role of women designers, especially Clara Wolcott Driscoll, who not only managed the Women’s Glass Cutting Department (the “Tiffany Girls”) but designed many of the lampshades and mosaic bases.  She was also paid the same as her male counterparts!  One of the explanatory panels in the exhibit recounts how Tiffany started hiring women (many with art school training) as an experiment when the male glass cutters went on strike in 1892.  It worked out well, so he continued employing women, believing that they were better at selecting colors, cutting the glass and wrapping it in copper foil.  However, the mores of the day dictated that women stop working once they married, so there was constant turnover.  Clara Driscoll left after 21 years when she married in 1909.  I was impressed by the wide variety of designs – most taken from nature, some inspired by Japan and China.  As you go through you’ll see that much care was also taken with the bases, which were designed separately.  Here’s a small selection of what you’ll find:

Lotus Pagoda Shade and Mushroom Base

There’s no designer attributed to this Lotus Pagoda Shade (and Mushroom Base), but you can clearly see the marrying of a “nature” and an “Eastern” theme.

Daffodil Shade, designer unknown, 1910-13 with Library Standard Base

Daffodils were one of Louis Comfort Tiffany’s favorite flowers.

detail of Cobweb Shade, mosaic floral base, Clara Driscoll, 1899-1902

The Cobweb Shade, designed by Clara Driscoll, has a mosaic base of narcissus flowers.   

Bookmark Shade Nodes, designer unknown, 1906-10

This Bookmark Shade 1906-10, is the only lamp known in this pattern, which pays homage to the15th and 16th century printers, whose marks are on the rondels.  This colophon of the anchor and dolphin belonged to the Italian Renaissance printer Aldous Manutius.

detail, Peacock lampshade, probably Clara Driscoll

Clara Driscoll probably designed this shade depicting peacock feathers; I especially liked the blue-green “eyes”  and the gold and orange borders. (There’s also a Peacock base)

Iron calipers, pincers, shears, jacks and paddles used in making leaded glass

Up on the mezzanine level you’ll find not only more lamps and lampshades, but also glass blowing tools like these, used by Maurice Kelly in the early 1900’s.

Bamboo Shade, designer unknown, 1900-06

This Bamboo Shade (1900-06, designer unknown) is the only lampshade that used curved glass.

This is a very small selection of the 100 lamps on display.  Be sure to get up to see this, yes, illuminating exhibit at the NY Historical Society, 170 Central Park West and 77th Street.

Artists Residency Open Call

The New York Art Residency and Studios (NARS) Foundation   is now accepting applications for the International Residency Program from international and US based artists. The NARS residency supports emerging and mid-career artists and curators working across all disciplines through three and six-month residencies, creating a space for artistic dialogue and international cultural exchange for an extended period of time. 

NARS offers 24/7 access to furnished, private or semi-private studio spaces (280-325 sq ft) in our diverse artist community in Sunset Park, Brooklyn. As a studio based residency, the focus is on the artistic process and the experimentation that results from working alongside other artists, within New York’s cultural and sociopolitical context.  Deadline is September 30, 2017.

Philip Johnson’s Glass House

If you’re interested in architecture and landscaping, I recommend a trip to New Canaan to see Philip Johnson’s Glass House.  I took a fabulous tour about two weeks ago with my alumni association and learned a lot!  I was familiar with his architectural works such as the Sony Plaza on Madison Avenue, the Koch Theatre at Lincoln Center, and his contributions to the Seagrams Building (which he worked on with Mies van der Rohe), but knew nothing about his life in New Canaan.

Surprisingly, Johnson did not begin his architectural career as an architect, but rather as  the first Director of the Department of Architecture at The Museum of Modern Art (MoMA), a post he held from 1930 to 1936. Throughout his life he maintained a relationship with the museum, to which he donated over 2,000 works of art, including ones by Andy Warhol, Jasper Johns, and Robert Rauschenberg.

In late 1945, Johnson purchased the initial five-acre parcel in New Canaan, which was his weekend retreat.  He cleared the trees, and over the next 50 years continued acquiring land, modifying the grounds, and erecting over a dozen follies, pavilions, and other structures.   Currently the estate is 49 acres.  Johnson felt that architects should also be landscape architects, and you can see how he shaped the property to keep the eye moving but also to surreptitiously reveal what he termed “events on the landscape.”

The Gate and entryway to the Glass House

For Johnson, appearance and ritual were extremely important – the buildings and grounds, invoking elements of ancient Greece and Rome, are designed to orient how you approach a building.  You enter the property through a gate of two colossal columns and proceed procession-like down a path bordered by a pine grove and rolling hills. 

1995 Da Monsta, Frank Stella inspired building

On the left you encounter the last building built on the property – Da Monsta, constructed in 1995, was inspired by Frank Stella’s design for a museum in Dresden, Germany.  

Interior of Da Monsta, built 1995

Made of modified gunnite, Da Monsta uses warped, torqued forms in both it’s exterior and interior, giving you a kind of funhouse feel when you’re standing inside it. (It’s used as a gallery).

The Study

A short distance away, surrounded by tall grass and wetlands you’ll see the Studio, a workspace/library built in 1980, where Johnson kept some 1,400 books on architecture! 

View of Brick House and Glass House

Continuing on the walkway, on the right-hand side you’ll come to the Brick House, which  not only stands opposite the Glass House, but is also oppositional to it, in that brick and glass are reversed, with the portal windows mirroring the round shape of the Glass House’s brick bathroom.  These buildings are two volumes on an exterior courtyard; indeed, the Brick House is considered the other half of the Glass House. Unfortunately the Brick House is closed due to a renovation project. 

The Glass House, photo courtesy of Brett Whysel http://www.brettwhysel.com/

The Glass House wasn’t Johnson’s idea;  Mies van der Rohe had discussed the idea with him in the 1940’s, and included the design for his glass house, The Farnsworth House in Plano, Illinois, in the 1947 exhibit of his work at MOMA. However, that house wasn’t built until 1951; Johnson’s Glass House was completed in 1949, whereupon he moved into it, and lived there until his death in 2005.  The Glass House is exactly that – 55 feet by 33 feet, of exterior glass walls (and doors) with one interior room, namely the cylindrical bathroom, made of brick, with a fireplace carved in its “back’’! (My thanks to photographer Brett Whysel who kindly let me use this photo – check out his website!)

Living room in the Glass House

Furniture is laid out so as to imply rooms; the living room contains Mies van der Rohe’s 1929 Barcelona chairs and an area rug; the bedroom is separated from the rest of the house by a row of closets on one side.

View of the Lake Pavilion and the Monument to Lincoln Kirstein

Even though the Glass House is set on a promontory, you can’t see it from the main road. It fits seamlessly into the landscape, offering wonderful views of of the pond and woods beyond, which Johnson remade as an old European wood.  Johnson and his partner David Whitney held weekend dinners/salons here, giving many young architects their start.  From the Glass House you can see the Lakeside Pavilion (very small, not built to scale) and further back the staircase to nowhere, more formally known as Monument to Lincoln Kirstein whom he befriended when they were undergraduates at Harvard.

One Through Zero, Robert Indiana, cortenz steel

On the grounds you’ll find a permanent circular cement sculpture by Donald Judd; this one by Robert Indiana, One Through Zero is on display until November 30th.

Buried Earth Building

The Buried Earth Building (or “the art bunker”) is a red sandstone bermed structure – think tomb of Agamemnon – where he and Whitney kept large-scale works by artists they collected. Whitney, who was a gallery owner, art collector and adviser, had an original eye, and personally knew many of the artists whose work he and Johnson owned, including Frank Stella, Robert Rauschenberg and Andy Warhol. 

Untitled (Boni Lux), 1993 and La Banana e Buona, 1988, Julian Schnabel

Inside  the very large interior are three rotating “poster-racks” which display two paintings per spindle, allowing you to view six at a time (a total of 42 paintings could be stored this way).  The day I went, Julian Schnabel’s work was on display (and will be until August 14th)   

Light/shadows in the Sculpture Building

We also visited the Sculpture Gallery.  Built in 1970, the glass roof (supported by tubular steel rafters containing cold cathode lighting) creates complex patterns when the sun is at the right angle.  The interior of the 5-level building has a series of bays containing modernist works by George Segal, John Chamberlain, Frank Stella and others.

Johnson died in January, 2005;  Whitney passed away some six months later.  The Glass House is owned by the National Trust for Historic Preservation.

I highly recommend a visit.  The Glass House is open for tours on Thursday, Friday, Saturday, Sunday, and Monday between May 1 and November 30;  the tour guides are very knowledgeable.  You might also want to make time to explore New Canaan, which has about 80 Modernist Houses.  If you want to get a bite to eat, I can recommend Solé, 15 Em Street in New Canaan, about a 5-minute walk from the Glass House Visitor’s Center.

Hercules, Kings and Cockroaches

I wasn’t sure what to expect when I heard about the King of the Cockroaches exhibit at Hercules Art Studio – I am a New Yorker and have my own ideas about these insects.  According to the organizers, this show takes its “title from an ancient Arabic preservation myth:  the king is invoked as an appeal to insects and worms not to nibble on and destroy important books and scrolls.”  Through painting, sculpture, drawing and video, Bill Santen, Becky Brown, Jess Willa Wheaton and Daniel Lichtman address how we deal with the glut of material that surrounds us. 

Safe Keeping, Becky Brown, 2017 mixed media installation

Safe Keeping by Becky Brown is a wry commentary on how we continue to hold on to things that we no longer use and may even be obsolete – where’s the line between preservation and hoarding?

Black and White, Becky Brown, 2017, pencil and collage on paper

Becky also has several paintings and drawings in the show, including Black and White, a pencil and collage that caught my eye.

screen shot from Low Tide, Bill Santen, 2016, HD video, sound

Bill Santeen’s three videos are mostly shot in the area by City Island  in the Bronx, focusing on subjects as diverse as an immigrant fisherman, boat scrappers, and the preservation of waterfront objects.

Sun and Moon Study, Jess Willa Wheaton, 2017 oil on linen

Jess Willa Wheaton’s work ranges from small oil paintings such as Sun and Moon Study

Post Grocery 4, Jess Willa Wheaton, found printed vinyl and adhesive

to large (approx. 3ft x 4ft) collages like Post Grocery 4, assembled from unrelated found images, that combine to create something completely new and intriguing.

There are other works by these artists as well as an installation by Daniel Lichtman.

Hercules Art Studios  is a 5,700-square-foot space containing seven low-cost artists studios, a common area, an industrial kitchen, bathrooms with showers, and a gallery, and space for public programming.  Their artist-run Exhibition Program is currently accepting proposals from independent curators and artists for curated exhibitions and public programming for September 2017 – May 2018. The studios are at 25 Park Place, 3rd Floor, in Lower Manhattan.

King of the Cockroaches is on view until August 16th.  The Studios are open only on Saturdays and Sundays from 12:00pm to 6:00pm, or by appointment.

Measuring Time at Deutsches Haus

Measuring Time, a charming exhibit at Deutsches Haus at NYU began as part of the Chelsea Music Festival in June.  The show of 20 works by six artists ranges across woodcuts, photographs, drawings and mixed media, exploring themes of waiting, rhythm, and decay.   

Red Wall Owego, Regula Ruegg, pigment ink on fine art paper

Regula Rūeg’s work focuses on crumbling walls, forgotten signs, and lost wall advertisements, which allow us to see how the built environment changes over time.

Platform to Nowhere/Anticipating the Inevitable, Bill Beirne, photo documentation of performance work

Bill Beirne’s work centers on public space and communication.  He’s known for his video installations and public performances, one of which is documented in the above photograph.

There’s more to see by these artists and the other four in the show, which is up until August 26th.  Deutsches Haus at NYU is at 42 Washington Mews, and is open Mon-Fri 10:00am to 8:30pm, Saturdays 10:00am to 4:00pm.  They also offer German language lessons (I’ve studied there) as well as public talks, readings and film screenings.