This Sunday: Joshua Kirsch Fills Art Mana Fest With The Sounds Of 'Sympathetic Resonance'

In 2010 Joshua Kirsch turned the 3rd Ward lobby into an incredible musical instrument with his interactive installation Sympathetic Resonance. We actually asked him to install it again when we curated Wired Magazine's holiday pop up store that winter. So for those that may not have caught his work in our lobby (or those that just want to see it again) Kirsch will be presenting Sympathetic Resonance once more this Sunday as part of the Art Mana Fest in Jersey City.

"I had a blast deciding where all the different marimba key modules would go," Kirsch says of his time with us back in 2010. "The 3rd Ward lobby provided an excellent canvas in which to explore the different possibilities." Since that installation, Kirsch has had the chance to overhaul and refine the piece to improve the functionality and durability of Sympathetic Resonance. "Also, I've added the ability to fine tune the angle of each module to a degree hundreds of times more precise," he says. "This allows me to create installations with perfectly sweeping curves, something which would have been impossible before."

For the Art Mana Fest he will also present Oculus, which features 18 leg-like extensions that can all be manipulated by turning a central hub. "I knew it would work, but I did not know exactly what it would look like until the piece was finished," Kirsch says. "What resulted in the end was something that resembled an 18-legged spider a lot more than I expected, which I really like."

For his exhibition's opening, which takes place this Sunday, March 11 from 1-5pm, Kirsch will perform a three-minute piece that he composed specifically for Sympathetic Resonance, and jazz and classical musicians will also use it in ensemble performances. "Of course, a lot of the afternoon will be left available for guests to try their hand at playing the installation," Kirsch says. "From experience, I can tell you that some 'heart and soul' will definitely make an appearance or two."

Sympathetic Resonance will be on display through April, and musicians can even enter to win a $1000 cash prize by performing their own music on Kirsch's sculpture.

-- John Ruscher

Essential Event: An Art-Filled Saturday Night In Bushwick With Beat Nite & Brooklyn Armory Night

After you've gotten your daytime art fix out of the way this Saturday (whether at the Guggenheim, Whitney, MoMA or Armory Show), it'll be time to head back to Brooklyn for the seventh installment of Beat Nite, Bushwick's "half art stroll, half bar crawl. For the bi-annual event, which L Magazine named "Best Neighborhood-Wide Gallery Night," 19 local art spaces will be open from Saturday night from 6-10pm. On top of that, additional local spaces will also be staying open late as part of Brooklyn Armory Night. This will definitely make for a great, art-packed Saturday night.

Below we've highlighted a few exhibitions that we recommend checking out. You can also take a look at the entire Brooklyn Armory Night list and download a handy map to help you plot your journey to all of the Beat Nite spaces.

• Dreaming Without Sleeping at The Active Space - Dreaming Without Sleeping allows viewers to glimpse the artist’s view of our waking world: a bent, slightly pessimistic and occasionally hostile place populated by animals and people who are often reluctant to be interrupted by the viewer." Curated by 3rd Ward teacher Robin Grearson! Check out our preview of the exhibition.

• Skewville's 80th Birthday: A Retro Retrospective at Factory Fresh - "The Skewville twins have been making things since birth, from building club houses in the 70's, graffiti in the 80's, then on to commercial ventures in the 90's. In the past 13 years, they have been making innovations on the street and in art galleries with their stylized work and installations."

• Jesse Hulcher: The Remaster Cycle at Interstate Projects - "Through a wide range of digital and analog mediums, Hulcher explores the ways that corporate media influences how we view such disparate cultural experiences as the Vietnam war, Groundhog Day, and the Grateful Dead, among others."

• Tim Spelios: Scissors, Paper, Glue and Books I Can't Cut Up at Studio 10 - "Spelios's original source materials become the means to mine obscure connections and create irrational associations through juxtapositions of images and objects." There will also be a musical performance by Mr. Klopp,  a group that plays "an unpredictable amalgam of Cajun, Blues, Country, Psychedelic and Free Jazz."

• Tamara Gonzales: Untitled an exhibition of new paintings at Norte Maar - "The exhibition will feature the artist’s new series of works that combine her use of spray painting through lace.  Her new paintings spring to the optical extreme through her unique process of spray painting through found lace tablecloths, doilies, and curtains."

• Marking The Ridgewood Line at Cojo Art Space - "The focus of this show is brought to light by the nearly 30 artists who work with line, or with a lens capturing the hidden underdrawings in our everyday world."

-- John Ruscher

Essential Event: The Armory Show Returns For Its 14th International Art Showcase

It's March, and here in New York that means its prime art season, from major retrospectives of Cindy Sherman and John Chamberlain to premier showcases like the Whitney Biennial and The Armory Show, which is happening this Thursday, March 8 through Sunday, March 11 at Piers 92 and 94.

Not to be confused with the original Armory Show (the infamous 1913 modern art exhibition that prompted such reactions as former President Theodore Roosevelt's "That's not art!"), The Armory Show is an international art fair that started in 1994 and quickly grew into one of the world's largest and most important contemporary art showcases.

This year the fair has implemented "sweeping changes to the fair layout, amenities and services." They've enlisted renowned architectural firm Bade Stageberg Cox to design a new floor plan, and there will also be a new Media Lounge hosting "a curated performance series and film screenings that will feature artists' films and videos" as well as discussions and panels. This year's Armory Focus, which highlights a different art scene each year, will feature galleries from the Nordic Countries of Denmark, Finland, Iceland, Norway and Sweden. With its Armory Artist Commission the fair has also enlisted the work of Chicago artist Theaster Gates to serve as the fair's visual identity (he's also "holding court" at the Pier 94 cafe Thursday through Saturday).

If you're looking for an exhaustive preview of the Armory Show and all of its related counterparts, this ARTINFO article has you covered. If you're like us, you might want to just grab a ticket, head to 55th Street and 12th Ave. and explore all of the latest art from around the world. We were particularly excited, though, to hear that Bjork and Icelandic performance artist Ragnar Kjartansson will be teaming up for a discussion on Thursday.

-- John Ruscher

Essential Event: Six Decades Of John Chamberlain's Sculptures Loom Large At The Guggenheim

John Chamberlain: Choices, Solomon R. Guggenheim Museum, February 24 - May 13, 2012 Photo: David Heald © Solomon R. Guggenheim Foundation

While you're planning your March museum outings to check out MoMA's Cindy Sherman retrospective or the Whitney Biennial, we highly recommend adding the Guggenheim Museum's John Chamberlain: Choices to your list.

Chamberlain, who died in December at the age of 84, began his career as a sculptor in the mid 1950s, following four years of service in the Navy. He became known for forging sculptures out of automobile parts, which brought Abstract Expressionism into three dimensions and blended elements of Pop Art and Minimalism. "His astonishing, balanced sculptures stressed the deep volumes and eccentric folds that he managed to achieve by squeezing or compressing the metal and then welding the disparate elements into highly developed, collage-like compositions," says the Guggenheim.

Choices, which "pays tribute to the artist's process of active selection, or choosing, that is fundamental to his practice," is installed chronologically in museum, with his long career unfolding along Frank Lloyd Wright's upward spiral. C’ESTZESTY (2011), "a nearly 20-foot-tall work of painted and chromium-plated steel and stainless steel" is also installed along Fifth Avenue.

John Chamberlain: Choices is on display at the Guggenheim through May 13. Hit the jump to see some of the works featured in the exhibition, and as you do, meditate on a couple quotes from Chamberlain:

Kline gave me structure. De Kooning Gave me color. But I only agreed with him because the auto color was the same. It had nothing to do with being derivative. De Kooning knew about the color of America. The color of America is reflected in their automobiles.

One day something—some one thing—pops out at you, and you pick it up, and you take it over, and you put it somewhere else, and it fits. It’s just the right thing at the right moment. You can do the same thing with words or with metal. 

Fantail, 1961 Painted and chromium-plated steel 70 × 75 × 60 inches (178 × 190.5 × 152.4 cm) Collection of Jasper Johns © 2011 John Chamberlain / Artists Rights Society (ARS), New York Photo: Jerry L. Thompson.

SPHINXGRIN TWO, 2010 Aluminium 192 7/8 x 165 3/8 x 145 5/8 inches (490 x 420 x 370 cm) Private collection Installation view: John Chamberlain: Choices, Solomon R. Guggenheim Museum, February 24 - May 13, 2012 © 2011 John Chamberlain / Artists Rights Society (ARS), New York Photo: David Heald © Solomon R. Guggenheim FoundationUntitled, ca. 1960 Paper, metal, painted and printed tin-plated steel, printed paper fabric, and paint on painted fiberboard 12 × 12 × 5½ inches (30.5 × 30.5 × 14 cm) Private collection Photo: Kristopher McKayC’ESTZESTY, 2011 Painted and stainless steel 238 x 67 x 67 inches (604.5 x 170.2 x 170.2 cm) Private collection Installation view: John Chamberlain: Choices, Solomon R. Guggenheim Museum, February 24 - May 13, 2012 © 2011 John Chamberlain / Artists Rights Society (ARS), New York Photo: David Heald © Solomon R. Guggenheim FoundationShortstop, 1957 Painted and chromium-plated steel and iron 58 × 44 × 18 inches (147.3 × 112 × 45.7 cm) Dia Art Foundation © 2011 John Chamberlain / Artists Rights Society (ARS), New York Photo: David Heald/Solomon R. Guggenheim Museum, New YorkLord Suckfist, 1989 Painted, chromium-plated, and stainless steel 83 3/4 × 57 × 56 inches (212.7 × 144.8 × 142.2 cm) Bayerische Staatsgemäldesammlungen, Sammlung Brandhorst © 2011 John Chamberlain / Artists Rights Society (ARS), New York Photo: Courtesy The Pace Gallery

-- John Ruscher

Our Picks: Five Must-See Artists Featured In The 2012 Whitney Biennial

 

The 2012 Whitney Biennial kicked off on Thursday, and while the major art world shindig has already attracted its share of protest and controversy (it even got "punk'd" with a fake website mocking its corporate sponsorship), we're looking forward to checking out the 51 contemporary artists that curators Elisabeth Sussman and Jay Sanders have selected for the renowned showcase.

To give you a head start in your own biennial explorations, we've picked five participating artists whose work we're particularly excited to see (along with a small slice of trivia to accompany each one.) Check out the first two below and hit the jump for the rest.

Werner Herzog - The renowned filmmaker's contribution comes in the form of the multi-media installation Hearsay of the Soul, which incorporates the work 17-century Dutch printmaker Hercules Segers. 

Fun fact: At the biennial preview earlier this week, Herzog told Gallerist, "I don't go to museums because I don't like art. That's true. I don't like art."

Georgia Sagri - The provocative artist and political activist  presents an ongoing performance installation where you'll likely never know what to expect. 

Fun fact: Sagri played a role in early stages of Occupy Wall Street, which has called for an end to the biennial.

Mike Kelley - The recently-passed artist is represented by a series of films in which he chronicled his "Mobile Homestead," a replica of his childhood home in Detroit. 

Fun fact: The biennial has been dedicated to Kelley, who died of an apparent suicide on January 31.

The Red Krayola - The psychedelic rock band, which formed in Houston, Texas way back in 1966, will perform a "free-form freakout" on April 13 and collaborate with British conceptual artists Art & Language for an opera, Victorine, on April 14. 

Fun fact: While known as a rock group, The Red Krayola is no stranger to the art world. Founding member Mayo Thompson was a studio assistant for Robert Rauschenberg in the early '70s and renowned German artist Albert Oehlen has played with the band since the '90s.

Bess Forrest - The late "painter/fisherman" developed elaborate theories about united the male and female forms and operated on his own body to transform himself in a "pseudo-hermaphrodite." Fun fact: New York art critic Jerry Saltz almost got kicked off of Facebook for posting an image of Forrest self-surgery. 

Fun fact: New York magazine art critic Jerry Saltz almost got kicked off of Facebook earlier this week for posting an image of Forrest's self-surgery.

And of course don't limit yourself to these five. There is a lot of other amazing work to see at the Whitney, and you've got plenty of time experience all of it. The biennial runs through May 27.

-- John Ruscher

Essential Event: Over 30 Years Of Cindy Sherman's Powerful Photography Comes To MoMA

Untitled Film Still #21, 1978 - Courtesy MoMA and Cindy Sherman

Here's the abbreviated version of this post: Cindy Sherman is amazing and you should go see the Museum of Modern Art's new retrospective of her work, which just opened this past weekend and is on view through June 11.

If you're not already out the door and on your way to West 53rd Street, let us elaborate. For the uninitiated: Born in 1954, Cindy Sherman was the youngest of five children. She started painting while attending Buffalo State College, but she ultimately discovered that photography was where it's at. Searching for a unique subject for her work, she didn't have to look far: herself.

To say that she is really the sole "subject" of her photographs, though, barely scratches the surface of her work. In her art Sherman takes on many different identifies, using wigs, wardrobe, makeup and more to pose as everything from a film noir heroine to a frightening clown to the subject of paintings by paintings by Caravaggio and Raphael. "I feel I'm anonymous in my work," she said in a 1990 New York Times article (which aptly opens by calling her "the woman of a thousand faces"). "When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear."

Here's a choice description from Roberta Smith's Times review of the new retrospective:

Unfolding in discrete, chapterlike series, her work has proved to be as formally ambitious and inventive as it is psychically probing. Her photographs are inevitably skewed so that their seams show and their fictive, constructed nature is apparent; we are always in on the trick, alerted to their real-feigned nature. The rough, visible nonchalance with which they are assembled for the camera has expanded the boundaries of setup photography, incorporating aspects of painting, sculpture, film, installation, performance, collage and assemblage.

Smith goes on to say that MoMA's survey, while historic, could have been even more monumental. That's no reason to delay your visit, though. This is a rare chance see the singular work of an amazing and capital-I Important Artist at one of the world's top museums. So get on it folks.

Below, watch a video about the retrospective, and remember: MoMA admission is free on Fridays from 4-8pm. Oh right, if this makes you want to brush up on your photography chops, we've got classes for that!

-- John Ruscher

Essential Event: 3rd Ward Member Matthew Murphy and Ryan Scott Oliver Combine Photography And Music For '35MM'

 

When 3rd Ward member and virtuosic dance photographer Matthew Murphy first told us about 35MM--an "evening-length multimedia musical" that he's been creating with composer Ryan Scott Oliver--the Kickstarter campaign for their project was around half of the way to its goal (and we were about the same distance from fully comprehending the unique and amazing production that they were putting together.)

Now that the Kickstarter campaign is finished, funded and then some, 35MM will take place on Wednesday, March 7 and Monday, March 12 at Galapogos Art Space in Dumbo. We caught up with Murphy again, and he helped us really wrap our heads around the piece. Read on below, check out some of Murphy's images and a video of one of Oliver's songs after the jump.

"We've lovingly coined the phrase 'Musical Exhibition' to describe 35MM," he says. The production brings the musical talents of Oliver, who is also currently writing the musical version of Freaky Friday for Disney Theatricals, and Murphy's photographic mastery, which we highlighted in January. "Full disclosure, we've been a couple for the past two-and-a-half years, so the evening really is a labor of love in the truest sense of the word," Murphy tells us.

"Originally Ryan went through my photos when we first started seeing each other and he was drawn to a handful of them so he created songs based on what he saw in the images," he says. "Sometimes the image would be literal and the story would connect immediately, while other times it would be a more abstract image that Ryan would spin a tale out of."

As those songs began to accumulate, Murphy shot more photographs for the project, and they presented the songs for the first time at Urban Stages in December of 2010. "A year later Ryan really began to shape the piece by adding musical transitions that reflect on the art of photography as a way of documenting time while also stopping time," Murphy says. "Each song is its own isolated story, but our hope is that the audience feels like for each four-minute burst they are immersed in a new world both visually and aurally."

"Some may be asking why we are doing a Monday and Wednesday evening and the reason is because we were determined to have some of Broadway's hottest young talent, which meant we had to work around their show schedules," he adds. And he's not kidding. 35MM's five-person cast features Lindsay Mendez (Godspell), Alex Brightman (Wicked), Jay Armstrong Johnson (Hair, Catch Me If You Can), Betsy Wolfe (Merrily We Roll Along, Everyday Rapture), and Ben Crawford (Shrek). "They are going to blow everyone's minds," he says.

"Our director, Jeremy Bloom, has been working with them over the past week and solidifying all of the ideas for how we will present the images," Murphy says. "We have a spectacular projection designer Aaron Rhyne who is creating an installation that will allow us to deconstruct some of the images when needed and present them in their full form at others."

Murphy himself will be finishing up the last images for the song "Why Must We Tell Them Why?" this week right here at 3rd Ward. Check out those images and video below and grab your tickets before they're gone.

-- John Ruscher

Friday Opening: Robin Grearson Curates Criminy Johnson's 'Dreaming Without Sleeping' At The Active Space

 

Back in June we highlighted Stay Gold, 3rd Ward teacher Robin Grearson's curatorial debut during Bushwick Open Studios. We also featured her second curatorial endeavor, the two-person show Is Between, which she organized for Bushwick Beat Nite. Now she's curated her third exhibition, Dreaming Without Sleep, which opens this Friday, February 24 from 7-10pm at The Active Space.

Dreaming Without Sleeping showcases the work of Criminy Johnson, also known for his street art as QRST. "Criminy Johnson creates oil paintings depicting the strange environments and subjects he imagines, and while working out his ideas, he often makes wheatpastes that relate to these in some way," Grearson says in the press release for the exhibition. As Johnson's first NYC solo show, Dreaming Without Sleeping gives those familiar with his street work (which you may have encountered around the neighborhood) a chance to see another side of his art.

Friday's exhibition reception will also celebrate the grand opening of The Active Space, which just put the finishing touches on its new gallery space. Grearson invited us over to check out the gallery and an in-progress QRST wall mural that Johnson is creating for Dreaming Without Sleeping. Check out some photos, along with some Johnson's oil paintings after the jump.

Make sure you get to Friday's opening early, as the first people to arrive can snag a very limited number of one-of-a-kind drawings straight from the hands of Mr. Criminy Johnson.

And if you're having trouble finding the right words to describe your own art, keep an eye out for upcoming sessions of Grearson's 3rd Ward class, Learn to Love Your Artist Statement (or at least make friends).

-- John Ruscher

This Saturday: A Tale of an Unrealized Computer Opera Unfolds at Triple Canopy

 

Esteemed local arts organization Triple Canopy is always thinking outside the box, from their groundbreaking online publication to readings of "allegedly unreadable" books, and this week they'll treat us to another singular event at their Freeman Street headquarters in Greenpoint.

They describe Thursday's The Tale of the Big Computer (based on Swedish artist Anna Lundh's essay of the same name in Triple Canopy's 13th issue) as a "deluxe reading, performance and silent concert." 

That essay explores the history of The Tale of the Big Computer: A Vision, a 1960s sci-fi novel written by Nobel Prize-winning Swedish physicist Hannes Alfvén under the pen name Olof Johannesson. The novel inspired Swedish composer Karl-Birger Blomdahl's vision of an ambitious and unprecedented "computer opera," which he was unable to realize before dying of a heart attack. Blomdalh left behind only traces of the grand work that he planned to create, such as how the "opera's audio would rely heavily on tape recorders, which would be controlled, in part, by cosmic radiation, producing a different result each night" and how a "synthetic computer voice would be the only 'soloist.'" Lundh gathers together these traces and imagines what might have been if things had happened differently.

To find out how Lundh will translate her fascinating essay in a live setting, head to Triple Canopy's 155 Freeman Street space this Saturday. Doors are at 6 and The Tale of the Big Computer starts at 6:30pm. We're particulary curious about the mysterious "silent concert." 

-- John Ruscher

Member Pursuits // Noah Wall Creates A Video For "Blue Station," Plays Live Shows Friday And Monday

When we caught up with new 3rd Ward member Noah Wall back in December, we talked with him about both his award-winning web design work and his recent musical pursuits, including the September release of his album Hèloïse, which he celebrated with a scavenger hunt through Manhattan that spelled out the albums name. He also told us that he had a few more musical projects in the pipe. One of those was this video for the Hèloïse track "Blue Station," which premiered on The Fader last week.

Just as fascinating as his scavenger hunt (and, naturally, his web design work), the video employs a mysterious technology, "Colormind," which has its own equally mysterious website stating that it "uses SOUND, SHAPE, HEAT and subliminal COL☯R to condense TIME and bind EMOTIONAL RESPONSE." To demonstrate the technology, the video for "Blue Station" takes the classic Paul Newman Western Hud and "condenses" it into two and a half minutes. Here's The Fader's take:

It's dizzyingly beautiful and the swirling gradients over black-and-white are charmingly anachronistic, though reducing everybody's facial expressions to mood ring colors and debatably evocative shapes renders the actual film that whizzes by mostly illegible. Which is pretty much the fun part, how hard it is to figure out what's supposed to be simple.

Wall also has some live shows coming up. He'll be performing not to far from 3rd Ward at Diamond Mouth Surprise (30 Maujer St. #2C) this Saturday, January 14, and Williamsburg DIY venue Death By Audio on Monday, January 16. We don't know if he'll be able to recreate the Colormind phenomenon on stage, but we're sure he'll put on a fantastic show.

-- John Ruscher