Opens April 11:
Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NYC
Brooklyn-based artist Swoon creates a site-specific installation in Brooklyn Museum’s rotunda gallery, transforming it into a fantastic landscape centering on a monumental sculptural tree with a constructed environment at its base, including sculpted boats and rafts, figurative prints and drawings, and cut paper foliage. Often inspired by contemporary and historical events, Swoon engages with climate change in the installation as a response to the catastrophic Hurricane Sandy that struck the Atlantic Coast in 2012, and Doggerland, a landmass that once connected Great Britain and Europe and that was destroyed by a tsunami 8,000 years ago.
photos from Swoon’s instagram.com/swoonhq
opens tomorrow, Jan 9, 6-8p:
P.P.O.W Gallery, 535 W22nd St., NYC (3rd Fl)
Stoller uses clay and the grotesque as a vehicle to explore the constructed, often idealized world of femininity, gathering imagery across cultural lines and histories, often fixating on the subjugation of the female body. Porcelain is her primary media, a historically weighted material that is inevitably linked to desire, mystery and consumption. The sculptures in Spoil spill out of decorative materiality into the Rococo maximalist mentality of pageantry, pomp and artifice that are often overlooked as frivolous ploys. Through the synthesis of the symbolic female, culturally, historically and bodily, Stoller allows feminist language to expand within her work leaving room for subversion, defiance and play. Stoller uses a myriad of techniques to create her highly detailed works. First, hand-building the porcelain forms and incorporating porcelain slip, or liquid clay to coat fabric which burns away through controlled firing, leaving draping lace and flesh-like fabric ribbons. Stoller’s knowledge of the medium allows her to manipulate the clay creating a wide-range of effects: piped cakes, dripping syrup and rows of spikes and interlocking chains undergo multiple firings to develop each richly colored surface. The resulting works embody a powerful sense of oppositions which blur the lines between real and imitated, normal and abnormal, perceived beauty and the bodily abject. - thru Feb 8
closing soon, ends Jan 12:
New Museum, 235 Bowery, NYC
Spanning a forty-year career and moving across mediums, “Extreme Measures” presents a selection of Burden’s work focused on weights and measures, boundaries and constraints, where physical and moral limits are called into question.
“As an artist, [Burden] was fast out of the gate, establishing his reputation with a series of exquisitely simple, often incendiary performances from 1971 to 1977. Many lasted only a few seconds, others for up to three weeks. But they tested will, discipline and endurance, sometimes to the point of real danger… Few people saw Mr. Burden’s performances, but no matter: the best of them could be reduced to a vivid sentence or two that, once heard, stuck in the mind. By the mid-1970s, they formed a familiar litany of indelible acts and documentary photographs. After 54 performances, Mr. Burden succumbed to performance art’s primary occupational hazard: It was too grueling. He had always considered his performances sculptures, and now he turned to making sculptures that he saw as performances: feats or demonstrations that delved more deeply into reality with forms other than his body. His art-world visibility shrank because his efforts could no longer be distilled to an unforgettable sentence or two. They had to be experienced directly, which is what the New Museum’s spacious exhibition is all about.” - Roberta Smith, New York Times