Thursday, July 25, 2013

Lovely Light on the Last of the High Line

Last night I had the pleasure of being invited to join a small group from the New Museum, hosted by Cecilia Alemani, the Donald R. Mullen, Jr. Curator and Director of High Line Art. In glorious, early evening, summer sunlight – but cautioned that we must complete our visit before dark – we walked the last remaining, untamed section of the High Line.


Entering through a locked gate access on 34th Street just off Twelfth Avenue, our small, sensibly shod group picked our way along the tracks and the railroad ties, stepping over the grasses, wildflowers and other miraculously thriving flora 30 feet up on the trestle above the train yards.


We walked south until we ran out of track, as the last remaining un-developed stretch of the abandoned rail line met the northern most point of the wildly popular elevated park that now stretches from Gansevoort Street in the Meatpacking District to West Twenty-Eighth in Chelsea.

Along the way we stopped to hear Alemani speak, eloquently and with visible passion (not to mention a delicious Italian accent) about Caterpillar, the multi-part Carol Bove sculptural work installed amongst the weedy overgrowth.


As the High Line's press describes it:

Installed along a 300-yard stretch of the untouched terrain of the High Line, Bove’s sculptures reveal themselves among the unruly vegetation, like mysteriously pristine ruins of a lost civilization or a contemporary version of a Zen garden. Abstract shapes and enigmatic forms are carefully placed . . .  creating a unique viewing experience surrounded by the wilderness of the High Line and the stunning views of the Hudson River.

And as you can see –






 – they are absolutely right.

While this was a privately organized visit and I doubt that Alemani conducts every tour, the experience is available to the public. Again – from the web site.

On view for one year beginning Thursday, May 16, 2013, Bove’s commission is the last opportunity to see this section of the elevated railway in its natural state before it opens as public parkland in 2014. The commission will be viewable during public walks on Thursdays, Fridays, and Saturdays until May 2014. Admission is free and advance reservations are required.

A detailed account of the history of the High Line – opened in 1934, shut down in 1980 and narrowly escaping demolition in the late 1990s – is set out in Art on the Block's section "High Liners and Starchitechts." It's an incredible story about an incredible structure that has not only survived but regenerated itself in the heart of the city.

Catch it while you can.


Monday, July 15, 2013

Art on the Block's Dance Card Starts to Fill

With just two months left before the September 17th release of Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond, things are hotting up in Palgrave Macmillan's Marketing and Publicity department.

I'm delighted to be able to report that two very well regarded book stores (one on the Upper East Side and one in Brooklyn), have already reserved dates for evening events. Additionally, three gallery owners – all of them key contributors to my research – are working with us on signings in Chelsea, the Lower East Side and Bushwick.


Once details are nailed down, I will be posting on my own Twitter and Facebook links but will also be watching in grateful awe as each of my generous hosts gets the word out to their much more impressive number of social network followers!

More soon.

Monday, June 24, 2013

Publishers Weekly Picks Up Art on the Block

The industry insider guide Publishers Weekly today picked up "Art on the Block" and gave it what I consider to be a word perfect review:


Art on the Block: Tracking the New York Art World from Soho to the Bowery, Bushwick and Beyond
Ann Fensterstock. Palgrave MacMillan, $28 (288p) ISBN 978-1-137-27849-4
New York is indisputably a city of neighborhoods and art historian and collector Fensterstock’s mission in this lively and expansive cultural history is to reveal the impact of shifting real-estate markets, economic cycles, political movements, art-world producers, and consumers on contemporary art’s evolution. Rejecting any one explanation for the art world’s geographical, commercial, and aesthetic restlessness, Fensterstock instead presents “variables” to consider as she adeptly guides readers through the decades, from the decline of late-1960s Midtown modernism to 2010’s Lower East Side revival. Structured chronologically and by neighborhood, the book weaves a lucid narrative of how rising real-estate costs in the early 1970s made edgy Soho galleries cautious and increasingly commercial, prompting young artists attuned to punk and new wave to embrace the East Village scene, which remained influential until the late 1980s, when Chelsea and Williamsburg replaced it as epicenters of the art world in the 1990s and 2000s. Fensterstock concludes by arguing that the one constant here is change. Based on more than 150 interviews with artists and gallery directors, as well as news and criticism in popular art publications, the book is a highly readable introduction to the New York art world. 24 pages of color inserts. Agent: William Clark, W.M. Clark Associates.

I'm thrilled that the folks over there completely captured what I set out to do in the book. 
My thanks to my agent William Clark for seeing the potential in this story from the outset and all of the professionals over at Palgrave Macmillan who helped me to craft it into a readable text.

Here's hoping that this augers well for wider press coverage and a whole host of readers who will know more at the end than they did at the outset. Call it old fashioned – but still my notion of why one reads! 


Friday, June 21, 2013

Another Opportunity to Catch Up on the 'Other' 1980s

For those of you who weren't there – or for those of us who were, but recollections are now a little fuzzy – there is another New York museum show of note currently up in the city which looks at how it supposedly was 'back in the day'.

In March on this blog I recommended the New Museum of Contemporary Art's very thorough summation of an era in NYC 1993: Experimental Jet Trash, and No Star. In April I highlighted Claes Oldenburgs's The Store and The Street, a narrower but important exhibition at the Museum of Modern Art presenting a tight selection of early work by the great Pop master. May brought us Punk: Chaos to Couture from the Metropolitan Museum's much revered – if weakly reviewed – Costume Institute. These last two shows can still be seen.

The Whitney Museum of American Art also offers us I, YOU, WE. Open since late April but up through September 1, Karen Rosenberg reviewed the show this morning in the New York Times. http://nyti.ms/197p3rR

Rosenberg helpfully proposes the Whitney's show as a prequel to the '90s era investigation offered by the New Museum's 1993 focus; it also serves as a crucial counterpoint to the all too easily citable image of the 1980s art world as all flash and cash as the good times rolled in the Big Apple. "Instead" she writes, "we see . . . artists reacting to AIDS, Reagan-era social policies, urban blight and gentrification, and a stock market boom and bust."

Very much as Art on the Block's high '80s chapter "Building Empires and Crowning Kings" gives way to the late decade years of "Rising Crescendos and Dying Chords", curator David Kiehl reminds us that against a backdrop peopled by art stars like Julian Schnabel, Francesco Clemente and Jean-Michel Basquiat, were artists working in an all together darker vein. The work of Robert Gober, Glenn Ligon and Kiki Smith are all included at the Whitney as is Nan Goldin's slide compilation The Ballad of Sexual Dependency.


The work of all of these artists is also described and contextualized in Art on the Block and several examples are included in the color plates. The estate of Peter Hujar generously granted me permission to use a study of David Wojnarowicz David Lighting Up Manhattan Night (1) from 1985. Both artists are now tragically lost to AIDS.


And painter Anton Van Dalen, whose 1986 work Luxury City is in Kiehl's line up, permitted me his harrowing street scape Evangelical Christian Church of 1983, a testimony to the devastating human costs of the crack cocaine epidemic and the ravaged inner city terrain that housed it.


For those of you awaiting the book's release on September 17, the Whitney exhibition offers another opportunity to experience some of the poignantly timely art created during the period I document in Art on the Block. It might also be a moment to take one of the last looks at the Whitney Museum before it takes its art to another block in the Meatpacking District.













Thursday, May 30, 2013

ILevel Interviews the Author of Art on the Block

I'm sharing here a concise – but happily accurate – piece that ILevel Art Placement and Installation posted yesterday.

A nice promotion, for which I thank them, and I'm happy to promote right back!

David Kassel and his professionals at ILevel have taken care of the installation and regular re-hanging of my own art for years. They are responsive, reliable and – given that most of his team are working artists – always bring a good critical eye to installation decisions.

(I should perhaps add that the antler installation that ILevel are rocking at right of their post belongs to a collector more adventuresome than I!)












212.477.4319 
info@ilevel.biz

05-29-2013

Ann Fensterstock Shares Her Top Spots for Art in New York

In the art world, Ann Fensterstock’s opinion is a respected one. Among her credentials: She holds an M.A. in contemporary art from NYU, she spent ten years on the acquisitions committee at the Museum of Modern Art, and she currently serves as as a member of the museum’s Contemporary Arts Council. Most recently, she authored the upcoming book “ART ON THE BLOCK: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond,” the purpose of which is to “take the reader on a journey through the neighborhoods that shape, and are shaped by, New York’s ever-evolving art world” and to “explore the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next.”
Ann Fensterstock book
So who better to ask about the top spots for art in New York and beyond? We got a chance to talk to Fensterstock (also an ILevel client) about her favorite galleries, museums, artists and the (enviable) collection she has in her own home. Here’s what she had to say.
Ann fen
You’re an authority on art in New York City.
I don’t really consider myself ‘an authority’ or an ‘expert’ as that tends to suggest that contemporary art is a lofty or impenetrable thing. I just go to a lot of museums and galleries and look hard.
What are your favorite:
Places to discover new artists?
The studios of Bushwick, the newer galleries of the Lower East Side and the not-for-profit spaces who can show riskier, groundbreaking work without worrying about its current commercial viability.
Art museums large and small?
I’m very involved with MoMA so I obviously have to wave that flag. The Neue Galerie on Fifth Avenue is a gem as are all of the Dia Foundation sites. Smaller regional galleries like the Norton in West Palm Beach or the Ogden in New Orleans push me to look at things beyond the contemporary work we collect. Looking at venetian glass, art deco furniture or early photography keeps your eye sharp and your mind open.”
Galleries?
Too many to mention but writing my book forced me to make choices about which one’s I consider to be the most important and which dealers the most visionary. You’re going to have to read it!
New York City artists?
Well New York City has tens of thousands of artists – natives and from elsewhere – so that really covers every name you see on gallery schedules throughout the city.
What’s hanging  on your walls?
Our library wall is installed with Modern prints from Picasso, Matisse, Dubuffet, Miro, Max Beckman and Emile Nolde but our bedroom is currently all figurative and contemporary portraiture – Chuck Close, Kiki Smith, Elizabeth Peyton, Mickalene Thomes and Lucien Freud. We have been collecting a lot of photography lately. Yossi Milo, Yancey Richardson and Brian Clamp at ClampArt have found us wonderful pieces. We re-hang quite often.
Do you have a favorite piece of art in your personal collection? What is it?
I tend to be a little fickle about loving our latest acquisition. Currently that is an 84 inch wide Michael Waugh drawing of swarming locusts made up of the words from President Obama’s American Jobs Act.

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Tuesday, May 28, 2013

Newly Published Books and a Chelsea Exhibition

• Bad Boy: My Life On and Off the Canvas by Eric Fischl


Eric Fischl's memoir  is now available, I'm a good half way through it and enjoying it for its candor and clarity.

Courageously honest about his difficult childhood and the impact it had on his art, Fischl is also clear-eyed and even-handed about his career ups and downs throughout the over-heated art markets of the 1980s. Other art stars of the era such as Julian Schnabel, David Salle and Ross Bleckner – most of whom Fischl locked horns with at various points across the years – contribute passages.

Fischl was picked up and championed by the kingmaker dealer Mary Boone (featured with Fischl below) in 1984 and his work, along with that of Schnabel, Salle and Bleckner, took on trophy like status. Selling out shows before they opened, vetting and screening collectors before she would grant them access to her stable and replacing the discreet red dot with the emblazoned name of the grateful purchaser, Boone revolutionized art marketing tactics in a way that left the art world aghast.




http://www.amazon.com/Bad-Boy-Life-Off-Canvas/dp/0770435572/ref=sr_1_1?ie=UTF8&qid=1369757093&sr=8-1&keywords=eric+fischl+memoir

The Gallerist's writer Andrew Russeth did a nice piece on a conversation with Fischl a few weeks before publication –

http://galleristny.com/2013/05/to-the-bone-in-new-book-eric-fischl-talks-painting-drinking-snorting/2/

– and Phoebe Hoban (author of Basquiat: A Quick Killing in Art) also published an interview in the Wall Street Journal –

http://online.wsj.com/article/SB10001424127887324744104578473224204146336.html

• Scene by Jeannette Montgomery Barron


Jeanette Montgomery Barron's book Scene is now available from powerHouse Books.

Capturing the art world scenes that spawned around such venues as Warhol's Factory and TriBeCa's Odeon restaurant, Montgomery Barron shows us the faces of the fabulous and the famous who swarmed around art stars like Jean-Michel Basquiat, Francesco Clemente, David Salle, Cindy Sherman and Keith Haring.




I'm delighted to report that powerHouse books, a highly-regarded independent book store and publisher in the Dumbo section of Brooklyn, will be hosting a book signing of Art on the Block in September.

http://www.jeannettemontgomerybarron.com/index.php?option=com_k2&view=item&id=38:scene&Itemid=2

NYC c. 1985  at ClampArt Gallery


In conjunction with the publication of Scene, Brian Clamp at Chelsea's ClampArt Gallery is including this 'right time, right place' photographer's portraits of the 1980s downtown demi-monde in a show called NYC c. 1985. Works by Larry Clark, Nan Goldin and Diane Arbus's daughter Amy will also be on view.



http://clampart.com/2013/05/new-york-city-c-1985/

Forty-One False Starts: Essays on Artists and Writers by Janet Malcolm


Also on my bedside table is this new collections of essays by Janet Malcolm. 

In all probability I'll skim this one, picking out the names that interest me but with Artforum's editor Ingrid Sischy, the German photographer Thomas Struth (who generously granted me permission to use one of his stunning black and white studies of 1970s SoHo in Art on the Block) and – yet again – artist David Salle in her table of contents, it should be worth the purchase price.

Art on the Block's chapter "Decade of Decadence" considers the work of all of these artists, the dealers who vied to market their talents and the places they frequented as SoHo became a fusion of art, money, fashion and power.

http://www.nytimes.com/2013/05/26/books/review/forty-one-false-starts-by-janet-malcolm.html









 



Wednesday, May 1, 2013

A Third Great Show and a Second Great Tour

For readers anxious to experience in the flesh as much of what I write about in Art on the Block before the book launches on September 17, a third exciting exhibition is about to open in New York.

From May 9 at the Metropolitan Museum of Art, British-born curator Andrew Bolton's "Punk: Chaos to Couture" will explore the evolution of the Punk movement of the mid- to late-1970s and its effects – not just on music, but on fashion, art and attitude.

I recommend the exhibition less for its promise of showing the output of visual artists of the era (this is a Costume Institute affair) but more for capturing the zeitgeist, or spirit, of those turbulent times. The Punk backdrop is very much a part of the broader sociological context in my sections "The Roots of Restlessness", "East of Eden" and "The East Village Scene". Richard Hell, the Ramones, the New York Dolls, Debbie Harry of Blondie and Anya Phillips (below) are all featured in the book as they made and changed history at downtown clubs like CBGB.




For those of you who missed it, there were two, different takes on the upcoming show in the New York Times over the weekend – one from Jon Caramanica and the other from Melena Ryzik. Both help flesh out the origins of Punk and give it context beyond its British origins and garage band music roots:

http://www.nytimes.com/2013/04/28/arts/design/punk-chaos-to-couture-at-the-mets-costume-institute.html?_r=0

http://www.nytimes.com/2013/04/28/arts/design/anarchy-in-the-met.html?adxnnl=1&adxnnlx=1367424319-T+td4LhVhrn/7ZbcmsnEZA

Don't forget to add the New Museum's 1993 exhibit and MoMA's Claes Oldenburg's The Store and The Street to your itineraries. Details of those two exhibitions are posted below in earlier blogs.

And from Artview –

Due to overwhelming demand, (Artview likes to keep things big enough for a group dynamic but small enough for discussion), a second date has been opened up for the 'SoHo of the 70's' tour.
Wednesday, May 15 is now fully subscribed but we will repeat the tour the following day.

If you would like to join us from 11am until 1pm on Thursday, May 16 for a return to the cradle of the New York contemporary art scene, please connect with Lacy Doyle at artviewnyc.com or register at the link below:

http://www.artviewnyc.com/events/