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art

MoMA Names Martino Stierli Chief Curator of Architecture and Design

martinoThe nearly year-long parlor game of “Who will replace Barry Bergdoll at MoMA?” has, at long last, come to an end with today’s announcement that Martino Stierli has nabbed the plum role of Philip Johnson chief curator of architecture and design at the Museum of Modern Art. Stierli is the Swiss National Science Foundation Professor at the Institute of Art History of the University of Zurich, where he teaches the history of modern architecture. Beginning in March 2015, he will oversee the MoMA department of architecture and design’s special exhibitions, installations from the collection, and acquisitions. Stierli has a tough act to follow in Bergdoll, who stepped down last summer in leave-’em-wanting-more fashion—and in the midst of a stellar Le Corbusier exhibition—to become Meyer Schapiro Professor of Art History at Columbia University, although he remains a part-time curator at MoMA.
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Favorite Thing: MZ Wallace’s Artists for Haiti Tote Returns

mz wallaceArtist Raymond Pettibon‘s enchanting scrawl, a very good cause, and sequins: a more appealing trio of reasons to purchase a new tote bag we have not encountered. The accessories wizards over at MZ Wallace have gone into their capacious bag vault (which we imagine to be a milky white, high-ceilinged affair that smacks of Richard Gluckman) to reissue their Artists for Haiti tote, created in 2011 to raise funds for the nonprofit that supports education and health charities in Haiti. All proceeds from sales of the $175 nylon bag—originally in black and now in a creamy khaki dusted with bronze sequins and featuring Pettibon’s lettering on the leather handles—will benefit programs endowed by Artists for Haiti.

Have a suggestion for our next Favorite Thing? E-mail unbeige@mediabistro.com.

Quote of Note | Ed Ruscha

hans memling“I can’t stop looking at this guy, because he looks like somebody on the street, like somebody I know. If you cut his hair a little different, he might be a baseball player—I don’t know. He could be José Canseco. He’s got a certain look that puts him into the twenty-first century. Most paintings of people do not, so it’s really unusual. Especially with Memling’s pictures, they sort of cross centuries. And I like to be aware of that. Every so often I’ll see someone on the street that looks to me like they’re from 1950—they’re dressed like they are today, in today’s clothing, but they still have a 1950 face. And this man has a twenty-first century face somehow.”

-Artist Ed Ruscha on Hans Memling‘s Portrait of a Man, c.1470, during a recent event at the Frick Collection

NYHS Exhibit Fêtes Ludwig Bemelmans and Madeline on Her 75th Anniversary

Nancy Lazarus heads up Central Park West covered in vines, in search of twelve little girls in two straight lines, or at least the smallest one of the bunch: Madeline, and her creator.

Madeline at the Paris Flower Market
Madeline at the Paris Flower Market, 1955. Courtesy the Estate of Ludwig Bemelmans.

As a hotelier, cartoonist, and fabric designer, Ludwig Bemelmans was a jack of all trades, but Madeline, published in 1939, became his masterpiece. The New York Historical Society is marking the 75th anniversary with a retrospective of his career. “Madeline in New York: The Art of Ludwig Bemelmans,” is on view through October 19.

“He took any jobs that came along,” said exhibition curator Jane Bayard Curley of the Eric Carle Museum of Picture Book Art in Amherst, Massachusetts, the show’s organizer. Over 100 works are on display, reflecting Bemelmans’ many talents: drawings, paintings, manuscripts, photographs, and specially commissioned objects, including murals for the playroom of Christina, the Onassis yacht. Bemelmans’ family opened their archives to lend artwork and memorabilia.

“We created a faux Bemelmans’ Bar, but don’t tell the Carlyle,” joked Charles Royce, who along with his wife Deborah, lent murals from their luxury hotel, Ocean House in Watch Hill, Rhode Island. They acquired six plaster works, which had once graced the walls of Bemelmans’ La Colombe bistro in Paris. Royce was referring of course to New York’s Carlyle Hotel, where Bemelmans painted murals depicting the seasons of Central Park.
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Watch: Marina Abramovic Teams with Adidas on New Film

Opposing bunches of talented young people shuttle purposefully from one side of a rectangular surface to another. Sound familiar? No, it’s not the World Cup—sorry, the 2014 FIFA World Cup™—but Marina Abramovic‘s restaging of her 1978 performance Work Relation. And hold on to your Sambas, because the film (below), which was shot in Brooklyn by Dustin Lynn and debuted today on Nick Knight‘s Showstudio, was made in collaboration with Adidas. And so the eleven performers, wearing not only white lab coats bearing the monogram of the Marina Abramovic Institute but also Adidas kicks as they go about their competitive task, evoke a team of clinically precise athletes, with Abramovic in the role of wise—and presumably very well-compensated—referee.

Quote of Note | Adam Lindemann on Instagram and the Art World

insta

“The number of people posting images on the silly app is off the charts. Instagram is custom-made for the art world: you get a quick flash of an image with virtually no text or explanation. There’s no need to read. It’s perfect for people with zero attention span, zero education, and zero interest in learning about anything—perfect, in other words, for the art collectors of today. You could go so far as to say that the successful art of this current generation must be Instgrammable to succeed. And if it doesn’t look good on Instagram, it ain’t working in this instant-gratification art world: goldfish have longer attention spans than ‘grammers.”

-Adam Lindemann in the New York Observer

Frieze Taps Barber and Osgerby’s Universal Design Studio to Design London Fair

frieze art fairNow in its eleventh year, Frieze London is getting a new look. This year’s fair, which runs October 15-18 in leafy Regent’s Park, will be designed by Universal Design Studio. The creative consultancy, founded in 2011 by designers Edward Barber and Jay Osgerby to focus on architecture and interiors, takes over from fellow Londoners Carmody Groarke, who handled the fair’s architectural aspects (read: supercool megatent) for the last three years. Frieze has previously employed Caruso St John (2008-2010), Jamie Fobert (2006–2007) and David Adjaye (2003-2005).

“The architecture and design of the fair have always been an important part of our identity,” say Frieze founders Amanda Sharp and Matthew Slotover. “This year we were drawn to Universal in particular due to their work on interiors and focus on materials. As some of the best designers working in this area, their lateral thinking has been demonstrated by some of their great furniture and even their design for the Olympic torch. We’re really looking forward to them bringing this sensibility to Frieze.” Among Universal’s recent projects are Google Web Lab at London’s Science Museum, exhibition design for Vitra’s Vitrahaus exhibition, and both the interior and exterior of the London outpost of the Ace Hotel.

Gehry-Designed Fondation Louis Vuitton Set for October Opening

1-Fondation Louis Vuitton @ Iwan Baan, 2014
(Photo: Iwan Baan)

Once upon a time, LVMH honcho Bernard Arnault announced his grand plan for a Frank Gehry-designed home for the Fondation Louis Vuitton: it would hover over a 2.5-acre swath of Paris’s Bois de Boulogne like a contemporary art-filled cloud of glass, it would cost around $127 million, it would be open by…2010. No word on the final budget, but opening day is finally in sight: October 27, 2014 will mark the public debut of the 12,600-square-foot building, according to a statement released today by LVMH.

Gehry looked to the lightness of late 19th-century glass and garden architecture in designing the structure, which is perched like an articulated nimbostratus in the leafy Jardin d’Acclimatation. Comprised of a dozen glass “sails,” it is covered in 3,600 panes of glass. The eleven galleries it contains will be dedicated to the permanent collection, temporary exhibitions, and artists’ commissions. Among the opening exhibitions will be one showcasing Gehry’s architectural project for the foundation and timed to coincide with the architect’s first European retrospective, which goes on view in October at the Centre Pompidou.

SEN One Creates Cover for Time Out New York

Time Out New York - Uptown coverYou’ve still got more than two months to catch the Museum of the City of New York’s “City as Canvas” exhibition of graffiti from the Martin Wong collection. For a bite-sized dose, pick up a copy of the latest issue of Time Out New York, on newsstands today, which features an original cover by George “SEN One” Morillo. The graffiti artist, a lifelong Upper West Sider, was an ideal fit for TONY‘s uptown-themed issue. “Being born and raised uptown, and seeing the gentrification process all my life and seeing everybody coming up, it fits who I am,” he tells the magazine. “That story connects to my story.”

As for how that story connects with the street art of today, Morillo points to the humble origins of slick tools with names like Krink and Grog. “We made markers by popping the balls out of roll-on deodorant, putting in the soft stuff from school erasers, and filling the containers with ink. Those techniques, as primitive as they might seem, led to the markers they sell now,” he says. “Vandals created an industry, and it all comes out of the Upper West Side.”

Amar Kanwar to Receive $25K Leonore Annenberg Prize for Art and Social Change

awar k

Indian artist Amar Kanwar is the recipient of the 2014 Leonore Annenberg Prize for Art and Social Change. The $25,000 award is presented annually by New York-based nonprofit arts organization Creative Time to an artist whose work has been devoted to “instigating social awareness and harnessing the communicative power of art to engage communities around important public issues.” New Delhi-based Kanwar plans to use the prize money to advance his ongoing The Sovereign Forest project, which brings together moving and still images, texts, books, music, objects, and seeds, among other things, in an attempt to reopen discussion and initiate a creative response to our understanding of crime, politics, human rights, and ecology. He will receive the prize on November 15 at the Creative Time Summit in Stockholm. He joins past winners including Fernando García-Dory, Jeanne van Heeswijk, and the Yes Men.

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