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Hélio Oiticica

Tuesday Links: Hélio Oiticica and Peter Schjeldahl Vie for Unpronounceable Name Supremacy

by Paddy Johnson and Michael Anthony Farley on July 25, 2017

Following up on our Shark Week coverage, the Discovery Channel aired their “race” of 500 time Olympic Gold Medalist Michael Phelps swimming against a Great White Shark, and people are pissed. Obviously, they weren’t going to put Phelps in the water with a shark, but I at least thought there would be a shark. Nope. Basically, they had Phelps wear a fin to give the swimmer the same advantage the fish had, filmed him swimming alone, and then paired him with a computer animation. Lame. There were at least some good memes to come out of this whole thing though. Whomever the intern is that made this image—hire them. [The New York Times]
Hate read: a guide to New York City’s largest mega mansions. There are typically created by rich people buying two to three buildings, kicking everyone else out, and combining them into one home so oversized it’s hard to imagine most of the space being used. The list of owners living/creating mega mansions includes Michael Bloomberg, Madonna, Larry Gagosian, and Jeff Koons. [Curbed]
“I’m getting braver at saying the name of a sorely under-known Brazilian artist whose retrospective at the Whitney Museum, “Hélio Oiticica: To Organize Delirium,” comes as an overdue revelation.” This is the first line of Peter Schjeldahl’s review in The New Yorker and we’re seeing grumblings on Twitter of how offensive this is. Get a grip. If you don’t know how to pronounce a name, or if it’s hard to pronounce properly for English people, it’s embarrassing. This is an admission that he’s working to learn, not that he’s revealing his implicit racism. If anyone has a right to poke fun at unpronounceable last names, it’s a guy named Schjeldahl. [Twitter, The New Yorker]
Artist Sarah Craske found a 300 year old edition of Ovid’s “Metamorphosis” at a junk shop. She’s since cultured centuries’ worth of readers’ bacteria from over the centuries for an artwork. [The Guardian]
Why is Condo being described as an art fair alternative? The event is an gallery-share model where galleries share their space with foreign dealers for the length of a show. Is launching exhibitions now secondary to participating in art fairs? [artnet News]
It turns out Alice Cooper has had a Warhol “Electric Chair” painting rolled up in a tube in storage for decades. The rocker totally forgot he had it. [The Guardian]
Microsoft is killing off its 32 year program beloved of artists, MS Paint. Well, there goes that genre of art making. [The Guardian]

This Week’s Must-See Art Events: A Hot (In A Good Way) New Fair

by Michael Anthony Farley on July 11, 2017

While the big galleries are still at the beach, the city’s museums and artist-run initiatives continue to keep us on our toes. Case and point: the Whitney’s opening the first US retrospective of Brazilian art/activism pioneer Hélio Oiticica on Friday. Speaking of art/activism, there are plenty of opportunities to get engaged this week, including talks at SVA on Wednesday and SOHO20 gallery on Sunday. The weekend’s real highlight, though, is Crushed, the inaugural Brooklyn Dirty Book Fair. Organized by former AFC teammate Matthew Leifheit, we’re expecting that to be great. Artist-made porn? Weird performances involving cake? A pop-up exhibition of vintage queer zines? Check, check, and check! We’ll see you there!

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Monday Links: The Socialist Internet, Zika Scares, Curators are In

by Paddy Johnson and Michael Anthony Farley on October 31, 2016

chilean-booth

“Utopia” is the theme of this year’s London Design Biennale, and people are looking to “the global south” for inspiration. In the Chilean booth, for example, there’s the Star-Trek-like control room from a 1970s attempt to build a nation-wide proto-internet for then-socialist Chile. It looks even cooler than it sounds. Too bad the CIA overthrew their government and the project never came to fruition. [Dezeen]
Here’s the surprisingly-entertaining backstory of a once-controversial public sculpture in the Capital’s Judiciary Square. If you’ve ever wondered why there’s a golden statue of a naked woman with a deer amidst the District’s stern-looking monuments, here’s why. [The Washington Post]
Walking around Savannah College of Art & Design, one would never guess the college was only established in 1978. That’s because Paula Wallace, who founded the institution, had the foresight to buy up a bunch of Savannah’s then-dilapidated historic buildings to create a campus. [Curbed]
Here’s one “charity” Donald Trump has actually given money to: the National Museum of Catholic Art and History… even though he’s not Catholic, and according to this post, the “museum” might be a scam run by the mob? What? [Wonkette]
For the Wes Anderson fans in the audience, there’s a new show of Wes Anderson inspired art at Spoke Art. Most of it looks terrible. [Geek]
So tempted to make a trip to Pittsburgh for the Carnegie Museum of Art’s Hélio Oiticica retrospective. It sounds awesome. [Vogue]
Remember how the subject of how curators had become the art world’s new power brokers dominated all art conversation five years ago. Well now that ArtReview has named curator Hans Ulrich Obrist the art world’s most “powerful person” the Times seems to have caught on. In 2012, ArtReview named curator Carolyn Christov-Barkargiev the most powerful, but I guess she didn’t count because Obrist? Anyway, it’s 2016, curators are hot, and the Times is ON IT. [The New York Times]
Ok, this headline/subheadline is pretty outrageous-sounding: “Amid Zika Scare, Art World Insiders Fear Discrimination While Planning for Miami Fairs: Welcome to the new reality for the art world’s most seductive fair.” But there’s a very real fear that pregnant art world workers might face employment problems this year. [artnet News]

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Struggling ‘To Organize Delirium’ at the Carnegie Museum of Art’s Hélio Oiticica Retrospective

by Emily Colucci on October 28, 2016

Geometric abstractions, makeshift shacks and a copious amount of sand transforms Pittsburgh’s Carnegie Museum of Art into a hippie playground for Hélio Oiticica’s retrospective To Organize Delirium (which comes to the Whitney next year). The exhibition presents a chronological look at the Brazilian artist’s short but feverishly prolific career. (He died suddenly in 1980 at 43-years old). In one gallery, a cluster of orange boards hangs from the ceiling while a cage of live parrots sits in a corner. Colorful macramé hammocks and projected images of Jimi Hendrix covered in cocaine fills another room. And the Museum’s grand Hall of Sculpture looks like a tent city on a beach.

While well-regarded in his native country, the artist remains relatively overlooked in the United States. But past the institutional visibility, To Organize Delirium doesn’t do much to rectify this. The show’s curators provide such little context for the work, which didn’t seem to age well in the first place, that I felt uncertain as to why his art had any currency at the time.

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This Week’s Must See Events: Is Gagosian Having an Identity Crisis?

by Paddy Johnson and Corinna Kirsch on March 10, 2014

After the tide of art fairs and biennials last week, we get a lighter events listing this week. For those of you interested in luxury, there’s Gagosian’s exhibition of Chinese antiques—a strange choice for a contemporary art gallery. We’re going to William Powhida’s solo exhibition at Postmasters for a dose of art-as-criticism and checking out Smack Mellon’s open studios for a glimpse into what artists are working on outside of the galleries.

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Hélio Oiticica

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