COLUMNS

  • One Night in Paris

    Nicolas Trembley around Paris

    Un, deux, trois, let’s do it again! Saturday, September 10 was the day of the “rentrée”—a new season at the Paris galleries. A crowd of tanned art lovers came back from their Provence holidays with new resolutions, such as to stop drinking and smoking. I guess we’re getting old. At least thirty galleries listed in the Galeries Mode d’Emploi held simultaneous receptions for this ostensibly wholesome crowd. My own rentrée had actually taken place the previous Tuesday at Marian Goodman’s gallery where, in an apparent spirit of iconoclasm or perhaps just a desire to beat the crowds, the gallerist

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  • Storm und Drang

    Linda Yablonsky around New York

    “If your house is underwater, you're not thinking about art,” said Arthur Danto, at apexart last Wednesday. “Unless,” he added, pointing to a large piece of carved cedar propped against one wall, “you have an Ursula von Rydingsvard to use as a raft!” It was one of twelve pieces in “The Art of 9/11,” a group show that Danto volunteered for the anniversary of the terrorist attacks. Numbed by the horror of post-Katrina New Orleans and sickened by the government negligence attending it, I had set out for the opening of the fall art season, wondering what I would find and if it would rise to the

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  • Cause Celebre

    William Pym on Nick Relph and Oliver Payne

    Here’s a recent Faust fable: One day you’re an artist about whom a few people know a lot; a few days later you’re an artist about whom tons and tons of different people enthusiastically know very little. With a solo retrospective at the Serpentine Gallery—that charming former tea pavilion with the billionaire patrons, storied history, and Michelin-starred Walther Koenig bookshop—Oliver Payne and Nick Relph are back in England and weathering this transition as I write. Payne and Relph—twenty-something Englishmen who recently moved to Manhattan, where they show with Gavin Brown–—have

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  • Swedish Dish

    Power Ekroth on “Here Comes the Sun”

    The autumn art season in Stockholm traditionally begins with an opening at Magasin 3, the privately owned kunsthalle/museum situated among the expansive warehouses near the city’s docks—an event that is always enthusiastically anticipated by the locals. This year some extra sparkle was added to the proceedings by the institution’s internationally renowned “associated curators:" Portikus director Daniel Birnbaum, 51st Venice Biennale cocurator Rosa Martínez, Palais de Tokyo codirector and cocurator of this year’s Lyon Biennale Jérôme Sans, and Israel Museum curator Sarit Shapira. Their

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  • Plane Sight

    Jennifer Allen on flying “upside-down”

    It was an offer I could not refuse: Fly upside-down from Berlin to Buenos Aires. When the architectural collective m7red invited me down south, the artist Carsten Höller provided the exceptional means of transport: A pair of Upside-Down Goggles, 1994-2001. As ophthalmologists and students of geeky trivia know, the human eye actually turns images upside down as rays of light are focused on the retina. The fact that things appear right side up is merely a trick of the mind. Inspired by equipment devised for psychological experiments, Höller's goggles simulate vision without the inversion of the

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  • Hustle Beach

    Linda Yablonsky on Long Island exhibition openings

    It may be only a few golf swings from that height of East Hampton hoity-toitydom, the Maidstone Club, but for much of its sixty-nine years Guild Hall has contented itself with remaining a small-town art space dedicated to the artists in its hood. Of course, when the local talent boasts names like Close, Sherman, Salle, Fischl, Bleckner and Chamberlain, not to mention Pollock, de Kooning, and Rivers, the place may not have to try that hard to be the Little Museum That Could.

    Take last Friday night, when all of the above (minus Pollock, de Kooning and Rivers, that is), joined Dennis Oppenheim, the

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  • Cool, Calm, and Connected

    Matthew Wilder on William Basinski

    A band of red parachute silk stretched across the length of the back of the parking lot, separating the ground from the sky. Above the band were trees, rooftops, telephone poles, telephone wires, and a great deal of purple-gray, then gray-to-black clouds. The busy Angelenos who dropped in at the Venice gallery Cherry de Los Reyes Wednesday night for an ambient concert by William Basinski don't usually pay attention to these things—or, I'd bet, to loops of wispy, smokelike fragments of sound that get repeated a hundred times or more. Do these people meditate? Three minutes during a yoga

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  • High Art

    Michael Wilson on “Drunk vs. Stoned 2”

    No Gavin Brown-organized event would feel quite complete without the impression that it might at any moment degenerate into chaos, but the opening of “Drunk vs. Stoned 2” (the first installment took place in April 2004) heralded its dizzily euphoric spirit via a press release that was later retracted, to be replaced by an almost-identical new one. (I never figured out what was wrong with the first one.) A group exhibition produced in collaboration with Milwaukee’s General Store gallery, “Drunk vs. Stoned 2” purports to explore the two different altered states named in its title as metaphors for

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  • Sex Outside

    Matthew Wilder on The Erotic Museum

    The Erotic Museum is—wait for it!—neither. But what does that mean to the hordes of strolling tourists passing Michael Jackson impersonators in front of Grauman's Chinese Theatre, peering at Hollywood Boulevard's stripper-shoe stores and falafel stands before setting foot in this daunting sex-historical warehouse? Whereas the Hollywood Wax Museum and Ripley's Believe It or Not—the eroticists' chief competition near the corner of Hollywood and Highland—sell Celebrity and Oddity to the Bermuda-shorts crowd, the Erotic Museum sells a Maxim-brand experience for sightseeing

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  • Boys from Brazil

    Linda Yablonsky on the Watermill Center benefit

    You can expect to have a good time at a party where the cha-cha shoes are limited-edition Havaianas flip-flops by Vik Muniz, printed with his signature chocolate drizzle. At just $100 a pair, they were among the limited-edition goodies at Robert Wilson's twelfth Annual Watermill Summer Benefit last Saturday. The theme this year was “Brazil.” That meant there were tropical fruit/palm tree centerpieces by Susan Miller Smith on every dinner table, four Brazilian artists in residence, and a hundred pretty-young-thing interns from other parts of the globe—very promising as far as charm and energy

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  • Sweat and Lowdown

    Andrew Hultkrans on the Extra Action Marching Band

    The Extra Action Marching Band is a thirty-five strong troupe of Bay Area drum-and-horn hellions who play an aggro blend of Balkan brass music, New Orleans second-line funk, and primeval Moroccan trance, preceded by a raunchy flag team that marches, bumps, and grinds in corsets, hot pants, and pasties. They have graced the prestigious Guca brass band festival in Serbia, sailed the playa at Burning Man in a self-built Spanish galleon, and rocked the Hollywood Bowl with fan and colleague David Byrne. They incite near-riots wherever they go, and may be some of the best public art available in our

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  • Dog and Pony Show

    Michael Wang on the Dreamland Artist Club

    “This is Jeffrey at his finest,” announced Steve Powers, a.k.a. ESPO, assessing the Italian dinner served up in honor of the Dreamland Artist Club, Powers’s urban beautification project which, for the past two years, has recruited mostly New York-based artists to create signage for Coney Island businesses, concession stands, and arcade games. To celebrate, Jeffrey Deitch and non-profit Creative Time teamed up to throw a real “island party” in Brooklyn. Held in the sprawling Gargiulo’s restaurant (whose outdoor mosaics and plaster fountains have a new addition, Dreamland’s crowning achievement:

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