Tag : New York Magazine

thumbnail Jun 5

Bound for Glory: Cavorting Athletes and Oblique Politics at the Debut of Allora & Calzadilla’s U.S. Pavilion in Venice

By Andrew M. Goldstein

Art Info

June 2, 2011

VENICE—Allora & Calzadilla‘s show for the Venice Biennale‘s United States pavilion has generated a near-deafening amount of buzz since previews began at the international exhibition earlier this week, with its overturned tank-turned-treadmill sculpture outside its entrance emitting a clarion clackety-clack to draw in hundreds of people to wait in line to see what the fuss is all about. This morning, the show — featuring eight professional gymnasts doing routines on replicas of business-class airline seats, an organ/ATM hybrid, and a video filmed on the Puerto Rican island of Vieques — opened to the public with a bang worthy of the buildup: a performance on the tank’s treadmill by Dan O’Brien, the 1996 Summer Olympics decathlon gold medalist once heralded on the cover of Newsweek as “Mr. Olympics.”

More on the works by Allora & Calzadilla:

New York Magazine: Jerry Saltz on the Ugly American at the Venice Biennale

Art Info: “It’s an Art Project, Let’s Keep It at That”: A Q&A With American Diplomat David Mees on the Politics of the U.S. Pavilion

Los Angeles Times: At the Venice Biennale, national artists know no boundaries

The L Magazine: America’s Allora & Calzadilla Crushing Competition at Venice Biennale

Finextra: Musical ATM goes on display at Venice Biennale

The New York Times: Venice Biennale: An Installation Art Contest and Venice Biennale: Money Talks, Make That Sings

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thumbnail Jan 6

Abelardo Morell

Seeing New York Through Leonardo’s Eye
Most of Abelardo Morell’s photographs are digital, but a lot of his gear is, conceptually, a millennium old. Morell is among the few contemporary masters of the camera obscura, the ancient method of projecting an image on a wall (deployed by Renaissance masters, like Leonardo da Vinci, and possibly used as a painting aid).  All it is, really, is a room with a tiny hole in the wall or roof that acts as a lens. Previous Morell portraits include a Times Square hotel room enrobed in an image of Times Square itself. For his new hybrids—on view in twin shows opening this month, at Bryce Wolkowitz and Bonni Benrubi—Morell photographs vivid cityscapes projected onto unexpected surfaces, like the gravel rooftop seen at right. “It involves a huge amount of work to create something my daughter could make in Photoshop in two seconds,” he says.

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