subscribe to this pageGET LOST is a collective portrait of downtown New York. Twenty-one international artists were invited to create a personal view of the city and draw a map of downtown New York, uncovering a territory that is both real and imaginary.
GET LOST brings together fictional landscapes, utopian visions, private memories, and obsessive instructions to explore Manhattan, its past, present, and future.
An exercise in emotional geography, GET LOST sketches the coordinates for an endless drift across the streets and myths of downtown New York.
GET LOST is the city as seen through the eyes of: 16beaver group; Francis Alÿs; Cory Arcangel; Jennifer Bornstein; Beth Campbell; Marcel Dzama; Isa Genzken; Inaba and Associates; Dorothy Iannone; Chris Johanson; Christopher Knowles; Terence Koh; Julie Mehretu; Jonas Mekas; Aleksandra Mir; Thurston Moore; Dave Muller; William Pope.L; Lordy Rodriguez; Rirkrit Tiravanija; Lawrence Weiner.
GET LOST is a New Museum production, edited by Massimiliano Gioni.
Beginning Wednesday, June 6, 2007, free copies of GET LOST will be available to the public at the following markers of the downtown scene and cultural organizations around the city: Opening Ceremony (35 Howard Street), Babeland (43 Mercer Street), Bowery Poetry Club (308 Bowery), The Bowery Hotel (340 Bowery), Congee Village (100 Allen Street), Lost City Arts (18 Cooper Square), Freemans Restaurant (Freeman Alley at Rivington Street), Two Boots (155 East 3rd Street), Patricia Field (302 Bowery), Screaming Mimi's (382 Lafayette Street), Joe's Pub (425 Lafayette Street), Artist's Space (38 Greene Street, 3rd Floor), The Kitchen (512 West 19th Street), Sculpture Center (44-19 Purves Street, Long Island City), The Rotunda Gallery (33 Clinton Street, Brooklyn), Bronx Museum (1040 Grand Concourse at 165th Street, Bronx), and the Bedford Cheese Shop (229 Bedford Avenue, Brooklyn). GET LOST can also be found at the New Museum Store at 556 West 22nd Street and at the galleries of participating artists.
Creators Series Gallery -- A showcase for the innovative work being presented throughout the Creators Series weekend. Free, with no ticket required, the gallery exhibition will showcase art, media, designs, installations, and other relevant work from each of the Creators Series participants. A number of informal demonstrations and chats will also take place in the gallery throughout the weekend, free of charge. The gallery is designed as a casual social space, where creative thinkers can come together and exchange ideas. Come on by whenever we’re open!
New York Gallery Hours
June 9, 12 p.m. – 6 p.m.
June 10, 12 p.m. – 5 p.m.
The Altman Building, 135 West 18th Street
Los Angeles Gallery Hours
June 15, 12 p.m. – 7 p.m.
June 16, 12 p.m. – 8 p.m.
June 17, 12 p.m. – 7 p.m.
The Rec Center, 1161 Logan Street
Exhibition Includes:
- Jonathan Harris’ Web projects Universe, an interactive examination of modern mythology using constellations of words pulled from the Web, and We Feel Fine, a large-scale blog analysis of human emotions online
- A demonstration of Graffiti Research Lab’s L.A.S.E.R. Tag, a system for projecting tags onto tall buildings
- A special display of Le Perversionisme, the enigmatic art movement concocted by French-Colombian mystery man Nieto
- A demonstration of British artist Paul “Moose” Curtis’ one-of-a-kind “clean-tagging” technique
- Two interactive installations by Theo Watson, including Vinyl Workout and a brand-new version of Daisies
- Interactive video from Martin Percy, including a demonstration of The Digital Debate
- Selected video work from Chris Doyle’s multi-author video project, 50,000 Beds
- Collaborative screen work from Matt Hanson’s A Swarm of Angels
- ReacTable, an innovative new music-making device recently adopted by Björk (New York only)
- Never-before-seen video from fashion designer Gareth Pugh (New York only)
POSTOPOLIS!
An exhibition at the Storefront for Art and Architecture, NYC
May 29 2007 - Jun 2 2007
An exhibition at the Storefront for Art and Architecture, NYC
May 29 2007 - Jun 2 2007
Featuring
BLDGBLOG, City of Sound, Inhabitat, and Subtopia
Postopolis! is a five-day event of near-continuous conversation about architecture, urbanism, landscape, and design. Four bloggers, from four different cities, will host a series of live discussions, interviews, slideshows, panels, talks, and other presentations, and fuse the informal energy and interdisciplinary approach of the architectural blogosphere with the immediacy of face to face interaction.
BLDGBLOG (Los Angeles), City of Sound (London),Inhabitat (New York City), and Subtopia (San Francisco) will meet in person to orchestrate the event, inviting everyone from practicing architects, city planners, and urban theorists to military historians, game developers, and materials scientists to give their take on both the built and natural environments. For the past five years, blogging has helped to expand the bounds of architectural discussion; its influence now spreads far beyond the internet to affect museums, institutions, and even higher education. Postopolis! is an historic opportunity to look back at what architecture blogs have achieved - both to celebrate their strengths and to think about their future.
March 1, 2007
Defacer With Mystery Agenda Is Attacking Street Art
By COLIN MOYNIHAN
Defacer With Mystery Agenda Is Attacking Street Art
By COLIN MOYNIHAN
Someone out there has a problem with art. Or at least a certain kind of art and artist.
The evidence is the bright green and purple splashes of paint that began appearing on walls in Brooklyn and Manhattan more than a month ago. The carefully aimed blobs obscured or disfigured dozens of pieces of street art created by people who may not be household names, but who have achieved the esteem of peers and some recognition from the mainstream art world. The targets of the paint attacks have included posters, paper cutouts pasted on walls, and images stenciled on the sides of buildings.
Many of the paint splatters were accompanied by messages printed on plain white sheets of paper and pasted near the splatters. Those communiqués appeared to condemn the commodification of art, but it is difficult to be sure what the messages really mean. One reads, in part, "Destroy the museums, in the streets and everywhere." The author has kept his or her identity a secret.
Word of the covert actions spread quickly through the street art community. Web logs began documenting the splatters. Soon the unknown protagonist was named the Splasher.
photographs by mikhael subotzky of south africa. many of the photos are of/in/about prisons/prinsoners.
MAIN SPACE ARCHITECTURE & DESIGN PROJECT SERIES:
H_edge
ARUP Advanced Geometry Unit
Design Team: Cecil Balmond, Daniel Bosia, Jenny E. Sabin,
Charles Walker, Francis Archer
Assembly Team: Jenny E. Sabin and PennDesign students
Curated by Christian Rattemeyer
H_edge
ARUP Advanced Geometry Unit
Design Team: Cecil Balmond, Daniel Bosia, Jenny E. Sabin,
Charles Walker, Francis Archer
Assembly Team: Jenny E. Sabin and PennDesign students
Curated by Christian Rattemeyer
June 30–September 3, 2006
Morris A. and Meyer Schapiro Wing, 5th Floor
An exhibition of twenty large-scale graffiti paintings from such influential artists as Michael Tracy ("Tracy 168"), Melvin Samuels, Jr. ("NOC 167"), Sandra Fabara ("Lady Pink"), Chris Ellis ("Daze"), and John Matos ("Crash"), Graffiti explores how a genre that began as a form of subversive public communication has become legitimate—moving away from the street and into private collections and galleries. Forms of graffiti have been discovered on ancient Roman and Mayan architecture and like today were both illegal and a form of communication. Modern graffiti, which is associated with hip-hop culture and spans all racial and economic groups, began in the mid- to late 1960s; it made its way to New York City and quickly became a phenomenon. Urban youth used the sides of subway trains and buildings as their canvases, reclaiming sections of their neighborhoods by "tagging" them with stylized renditions of their names or the names of the groups they formed. The self-taught graffiti artists turned the walls of public (and sometimes private) buildings into giant panoramas and subway cars into moving murals. Later, graffiti artists began to paint on canvas or large sheets of paper, attracting the attention of art dealers and collectors. One of the first dealers to collect graffiti was Sidney Janis. His heirs Carroll and Conrad Janis donated almost fifty works from his estate to the Brooklyn Museum in 1999. Graffiti is drawn primarily from this gift and supplemented by material the Museum's Libraries and Archives.
Devising digital techniques for graffiti artists |
By Geeta Dayal The New York Times Published: June 23, 2006 |
 |
| NEW YORK This city may have given birth to modern-day graffiti art, but how is it keeping up with the times? |
tagged IHT art eyebeam graffiti graffiti_research_lab international_herald_tribune newyork
by jn
...on 24-JUN-06
covering his head in tape.
Pyongyang; A Journey in North Korea
Guy Delisle
Shenzhen: A Travelogue From China
Guy Delisle
Brian Jungen
Cetology, 2002
plastic chairs
Collection of the Vancouver Art Gallery, purchased with the financial support of the Canada Council for the Arts Acquisition Assistance Program and the Vancouver Art Gallery Acquisition Fund, 2003
Photo: Trevor Mills, Vancouver Art Galler
class at parsons for art students or computer scentists.
Loretta Lux
May 18–June 24, 2006
Reception for the artist
Saturday, May 20, 2006, 6:00–8:00 pm
May 18–June 24, 2006
Reception for the artist
Saturday, May 20, 2006, 6:00–8:00 pm
May 12th- June 5th, 2006
ICEBOX Project Space
Crane Arts Building
1400 North American Street
Philadelphia, PA 19112
215-898-8374
Opening Reception Friday, May 12th, 6-9 pm
HIROSHI SUGIMOTO (Japanese, b. Tokyo, 1948) show at the Hisrshhorn in DC.
Over 3000 bunkers, built between 1882 and 1995, are scattered around Swizerland. Over the course of four years, Leo Fabrizio has documented these military strongholds. Real fortresses camouflaged amidst the rocks, hidden behind greenery and beneath improbable decorations, the Swiss bunkers, through a series of unconventional images, bear witness to an "armed neutrality" and provide a useful instrument for analysing the relationship between landscape and architecture.