Oh man, this is really lovely. Photographed in an Asian Import Store on Grand Street in Chinatown, NYC.
Man Ray (1890 – 1976) worked in a wide variety of media, including photography, painting, and sculpture, often blurring the boundaries between these practices. Obstruction, an assemblage of 63 wooden coat hangers, is an example of the type of artwork Dada artist Marcel Duchamp called a Ready-Made, a term that suggests Man Ray’s appropriation and manipulation of pre-existing, common objects. The sculpture playfully mimics a chandelier, but, as the hangers seemingly divide and multiply, Obstruction quickly evolves into a dense tangle of overlapping forms. Cast shadows serve as distorted, immaterial extensions of its physical presence. Man Ray first created Obstruction in 1920, but the present work belongs to an addition of 15 reproductions that he created in 1961 for an important exhibition of kinetic art.
Photographed in the Metropolitan Museum of Art in New York City.
In the Chelsea Gallery District, there is a huge advantage to having a street level, store front space, in that it attracts a lot of passers-by for whom the featured exhibit may not necessarily be on their radar. This past Saturday was not the first time that we have been drawn into the Magnan Metz Gallery based on a casual glance into the window. The tableau pictured above is what we saw as we walked west on 26th Street, the pull of which could not be resisted. Because, Bonfire in the Gallery.
In Big Brass/Light Opera, artist Amelia Biewald transforms the gallery space into an 18th century European parlor room, recreating the period’s lush opulence and sophistication.
However, the glamorous presentation is askew as the encapsulated scene has the tell-tale signs of a rogue stag run amok, a chaos ensuing as a result of a sparring within the space.
Amidst the knocked over furniture, wigs, and fans the now expired stag, Heavy Weather is suspended upside down having been brought to the ground by the weight of his own antlers, its presence within the room signifying a complete arrest of time.
Inspired by the visual intricacies found in historical masterpieces such as Diego Velázquez’s Las Meninas (1656), Biewald uses similar visual cues that allude to an outside viewer within the narrative forming a discord between perspectives.
Generating further tension are five vintage picture frames inlaid with mirrors and decorated with the heads of deer (Series Title: All of This and Nothing). Looking into the mirrors, the heads form a curious push and pull through the reciprocity of gazes. The scene is further stratified as the viewer establishes a context within the composition whilst moving about the mirrored space, becoming both the viewer and subject. Within these notions of perception the complete narrative exists in a plane somewhere in-between the multiple perspectives.
Big Brass / Light Opera is an amazing exhibit that I very highly recommend you try and see before it close in just over a week.
Amelia Biewald’s Big Brass/Light Opera will be on Exhibit through November 22nd at Magnan Metz Gallery, Located at 521 West 26th Street, in the Chelsea Gallery District.
It’s funny how I am always ‘just discovering’ artists that have been around for decades, and then once I see their work, I start seeing it all over. It happens all the time. For example, I was just vacationing in Boston last month and paid a visit to that city’s really fantastic Museum of Fine Arts, which everybody should visit. In the contemporary art wing at the MFA, I became enchanted with this work by Fred Wilson called Lago’s Mirror, which is a huge, ornate wall mirror made up of layers of black glass. It was so totally my thing and I stared at it for about ten minutes. Art!
So, it was very fortuitous that I ran into a couple of my neighbors during my September 11th Art Crawl and they raved about an exhibit that wasn’t even on my list for the evening “over at Pace” – which they insisted I absolutely had to check out. This exhibit turned out to be Fred Wilson’s Sculptures, Paintings and Installations 2004 – 2014 — a fantastic retrospective to see in Pace’s cavernous 25th Street space. Also: free wine!
Here’s a little background from the exhibit’s Press Release. Since the beginning of his career, Fred Wilson has created a diverse range of work that challenges assumptions of history, culture and race. Pace’s exhibit features works from the past ten years, including several that have never been exhibited. A catalogue featuring an essay by Doro Globus accompanies the exhibition and also gives further insight to the work and its deeper meaning. I’m going to include some of that essay here because I think it adds value for anyone who is going to see this exhibit maybe not knowing anything about Wilson up front.
As Globus writes, “Wilson’s appropriation is wide-reaching. Simultaneously working with the decorative arts and national symbols, he breaks down the supposed structures in place and offers up an alternative view of nearly everything he touches. He even treats the seemingly simplest forms – a mirror or a flag – in the same manner as an entire museum collection; clearly showing the relevance and import of his work outside such institutions.”
Please enjoy some of my photos from the show!
This exhibition features Wilson’s complete Flag Series, which has never been exhibited in its entirety. His newest work featuring Flag images, Black Birds (above) and Black All Stars (Below) isolate bird and star iconography from the flag of Africa another “black identified” countries, rendering these symbols onto a canvas surface exactly where they would be positioned on their respective flags.
In Don’t, Wilson superimposes various flags from our nation’s history on top of one another. Clearly visible are the phrases “Don’t Tread on Me” from the Gadsen flag, the X from the Confederate flag, the horizontal band from the Black Liberation flag and the Stars and Stripes from the American flag. I love the 3-D look of this painting!
There are also two new black venetian glass mirrors in the exhibit, which were definitely the talking points of the evening. Go see this exhibit to find out what these mirrors are all about!
I learned a a lot about Fred Wilson at the Pace exhibit and I like his work even better now. Fred Wilson!
Fred Wilson’s Sculptures, Paintings and Installations 2004 – 2014 will be on Exhibit Through October 18th, 2014 at Pace Gallery, Located at 534 West 26th Street in the Chelsea Gallery District.
Here at The Worley Gig, we like to have nice things – because you only live once, as the kids are fond of saying. If you, too, enjoy the finer things in life, and are also a fan of the Boozy Brunch, let me tell you about what I believe to easily be the Best Brunch in Manhattan, and that is the newly re-launched Champagne Brunch at Beauty & Essex. A week has passed since our visit and we just cannot shut up about the delicious food and great service we experienced at this elegant and hip hot spot lighting up the Lower East side.
Beauty & Essex is a place to go when you want to feel like a Superstar. Separated from the street by a cool storefront Pawn Shop, the restaurant’s interior is simply stunning, with antique accents and amazing light fixtures including a dazzling crystal chandelier that extends from the ceiling all the way to the first floor.
Although a full (and very extensive) brunch menu is available, we chose to go with the Chef’s Choice Prix Fixe Menu; a 4 course meal which offers you a generous taste of eight different dishes as well as two glasses of Moet & Chandon Brut Champagne for the bargain price of just $45 per person. Let’s Eat!
(Note: Since dishes are served family style and portioned for the number of people in your party, keep in mind that the portions shown in these photos are meant to serve two people).
Your “Brunch Party” – which is what we are calling it – starts out with your friendly server asking if you have any dietary restrictions or requests, as Beauty & Essex will happily modify any dishes to accommodate vegetarian or gluten free diets, or any food allergies where possible. And then, the food just starts coming out to your table – and what a sumptuous feast it is!
The first course consists of Red Velvet Waffles with Cream Cheese Icing ($12 a la carte). These 4-inch diameter waffles arrived piping hot and freshly made from the waffle iron, crispy on the outside an tender/ fluffy on the inside. There is no need for butter or syrup as the cream cheese icing drizzle adds the perfect additional decadence.
Miniature Dark Chocolate Croissants ($9 a la carte) — flakey and buttery pastry stuffed with rich dark chocolate — are also part of your sweet first course.
Should you feel any pangs of guilt from your “Dessert for Breakfast” course, redemption in the form of a fresh chopped Kale & Apple Salad ($12 a la carte) arrives next as part of your second course. Dressed lightly in a tart Apple Cider Vinaigrette, tender Kale and Slivered Green Apple are tossed with Candied Pecans, Crispy Pancetta and Shaved Goat Cheese in this light and healthy dish. It is understood that kale is a food that often strikes fear in the heart of the foodie, but be assured that there is no trace of bitterness anywhere.
Because Soup and Salad go together, course two also includes Grilled Cheese, Smoked Bacon and Tomato Soup Dumplings ($16 a la carte). Despite being described as “Soup Dumplings,” what you are really getting are Gilled Cheese and Smoked Bacon Dumplings (think: Dim Sum) resting atop a puddle of roasted tomato soup. Semantics aside, this dish is delish!
Oh my, are you full already? Well, better make some room in your tummy, because it’s time for course three, and you won’t want to miss a bite of what Beauty & Essex has in store. Check out these Fried Chicken Biscuit Bites ($14 a la carte): a crispy fried morsel of chicken breast on a buttery homemade biscuit, topped with crunchy, tangy Red Cabbage Slaw. A ramekin of Tabasco Honey Butter is also present for spreading meltily (made up word) onto the hot biscuit. So simple, yet so sublime.
At this point in the meal, our server made the rounds, bestowing a gift to all diners of these colorful, flashy light-up disco rings! Par-tay Brunch in the house! The only thing more exciting than these rings was the fact that there was still more delicious food to eat! See for yourself!
Look! It’s Braised Short Rib Huevos Rancheros: a perfectly cooked sunny side up egg is layered on top of tender short rib and black bean puree on a crisp corn tortilla, resting in a tomato ranchero sauce, and topped with Mexican Cotija Cheese. Ole!
Course three is rounded out with a huge serving of savory Skillet Roasted Potatoes with roasted peppers and herbed sea salt seasoning. Don’t explode yet, because dessert is coming.
This gorgeous thing is called a Caramel Mousse Bombe, and it is just insane. Inside this spherical chocolate shell is a light and fluffy caramel mousse on a chewy caramel cookie base. It is hard not to completely devour the Bombe, even when you have just eaten all of the food on the planet.
As you can see by this visual culinary journey we have just taken together, the Beauty & Essex Chef’s Choice Prix Fixe Brunch is a lot of food for a ridiculously reasonable price. And even though the menu says it includes “Two Glasses” of champagne, our glasses were topped off regularly and I don’t think anyone was really keeping too close of an eye on it, if you get what I’m saying.
Beauty & Essex is located at 146 Essex Street (F train to Essex & Delancey), New York, NY 10002. Brunch is served on the second floor from 1 – 6 PM. Phone (212) 614-0146 for more information, visit Beauty and Essex Dot Com for Menus and Visit Open Table to make a reservation at This link.
The Porca Miseria! Chandelier is a revolt against the “slickness” of contemporary design and designer Ingo Maurer’s celebration of slow–motion cinematic explosions. Only 10 of these lamps are produced annually, as four builders and must work on each one for almost 5 days, carefully breaking plates with a hammer or dropping them on the floor to determine the arrangement of the final design. The title, a common Italian interjection similar to “damn,” expressing irritation, surprise, annoyance, or incredulity, evokes both the frustration of breaking a dish and the release that comes from breaking many of them.
Porca Miseria! was Photographed while on exhibit at the Museum of Modern Art, in the Design Gallery.