If you’re a regular reader of this blog, then you might recall that I recently attended an art event at the National Museum of Mathematics (aka MoMath). On the way out of the museum that evening, I decided to pop in to the gift shop, where I noticed something at first seems a bit incongruous: a tiny Pink Bathtub . . . that was in use as a bin to hold little soaps shaped like the Pi symbol. Oh, the cleverness.
One of the most popular artifacts at the Museum of the City of New York is the Dollhouse of Carrie Walter Stettheimer (1869–1944) which weaves together the fashion and style of New York’s Gilded Age in miniature form. Stettheimer (sister of artist Florine Stettheimer) worked on the 12-room dollhouse over the course of twenty-five years, from 1916 to 1935, creating many of the furnishings and decorations by hand.
Styles vary from room to room, yet the wallpapers, furniture, and fixtures are all characteristic of the period following World War I. The dollhouse is particularly notable for its original, miniaturized works crafted especially for Stettheimer by renowned avant-garde artists of the 1920s, including a 3-inch version of Nude Descending a Staircase by Marcel Duchamp. From the Limoges vases in the chintz bedroom to the crystal-trimmed candelabra in the salon, Stettheimer infused her artistic sensibility into every detail of the house. The dollhouse measures approximately 28 inches tall, 50 inches long, and 35 inches wide.
Take a video tour of the Stettheimer Dollhouse, where this Pink Bathroom can be seen at 1 minute 13 second mark, at This Link!
The scale model of Progressland refers to the General Electric pavilion at the 1964 World’s Fair, whose themes were “Progress through Electric Power” and “The Wonders of Atomic Energy.”
In a brochure from the time, Progressland is described as “a large graceful building with a curving 200-foot-wide dome, supported by a unique pattern of swirling circular pipes. It is eye-catching by day . . . and dazzlingly colorful by night.”
Video of Colorful, Illuminated Dome
Progressland featured a Walt Disney presentation of electricity’s history and future, as well as actual nuclear fusion first hand. In Richard Rush’s carefully crafted model, made around the time of the fair, we can today appreciate the hope imbued into the temporary architecture, which celebrated a golden era of optimism in technical innovation and scientific exploration.
In 1967, the attraction was moved to Tomorrowland at Disneyland in Anaheim, California as the Carousel of Progress, remaining there until 1973.
Photographed at the Chamber Boutique on 23rd Street, West of 10th Avenue.
When it comes to my taste in Contemporary art, two things that always draw me in are clever appropriation and subversive absurdity. I just love that shit. And that is part of the reason I had such a good time at this exhibit called I Went to School with Someone Called Jonathon Monk, which is over at the Casey Kaplan Gallery. You should check it out.
For this extremely fun and cerebrally stimulating exhibit, artist Jonathan Monk (whose first name is intentionally misspelled in the exhibit’s title) interprets significant biographical events in his own life by filtering his art projects through the works of artists that have influenced him. Or something like that. According to the Press Release, Monk’s work “is a continuing engagement with notions of authorship and identity, as he recasts iconic works of art with a consistent and incisive humor.” Take a look at the above photo, for example.
In the gallery’s front room, you’ll see the above pictured work entitled A Copy Of Deflated Sculpture No. 1, which any art fan can tell immediately is a knock off of an iconic, Jeff Koons Inflatable. What you might not know is that the sculpture is “a facsimile of Monk’s subtly deflated copy of Jeff Koon’s iconic inflatable bunny, exhibited in his 2009 exhibition with the gallery, The Inflated Deflated.” Does your brain hurt yet? Mine does.
Here are additional works we enjoyed!
Together Again But Always Alone (2014) is a miniature statue of Paul McCartney dressed in a paint-smeared Santa suit, which references artist Paul McCarthy’s 1999 performance piece, Tokyo Santa. So genius.
Figurative Sandwich (2014) features two Black and White prints (Vintage foundation garment ads) on either side of a sheet of Radiant Plexiglas, which possibly references the works of Dan Graham.
You’ll Never See My Face In Kansas City (2007) Enamel Paint on Volkswagen Type I Beetle Hood.
From One State To Another (Sewn Together To Make A Whole) (2014), Souvenir scarves from every American state sewn together in the shape of the country, a reference to the embroidered maps of the late Alighiero Boetti.
Mistakes Have Been Made (2014), Marble Sculpture of Child’s Skull-Shaped Eraser.
From the Year I was Born Until the Year I Left America (2014), 31 C-prints mounted on Medium Density Fiberboard.
Three Part Piece (Untitled Wood Destroyed). Taking a lost, early wooden sculpture by American minimalist Carl Andre as its starting point, Monk displays the work in three variations – a charred replica, a photograph of its original condition, as well as video documentation of the work burning (seen in the photo above).
Worleygig.com Highly Recommends This Exhibit!
I Went to School With Someone Called Jonathon Monk will be on Exhibit Through October 18th, 2014 at Casey Kaplan Gallery, located at 525 West 21st Street, in the Chelsea Gallery District.
If you’re intrigued by the idea of visiting an artist’s studio, where you could not only see finished works but also get a peek inside his head to discover what concepts he’s experimenting with, then I suggest you visit The Hole to check out Holton Rower’s new exhibit, Too Many Ideas.
Fans of this blog may recall reading about Rower’s art when we previously reviewed his exhibit of Pour Paintings and Focus Paintings, examples of which are scattered throughout the gallery for the Too Many Ideas show. The process through which Rower creates the Pour Paintings – which are really quite gorgeous – is also adapted for use with various kinds of sculptures including functional furniture.
A Pour Painting hides behind a set of chairs, created by the same paint-layering methods.
Here, a folded Pour Painting collapses on the ground under a work bench.
It looks like he had fun creating these colorful and primitive looking Busts.
Rower also experiments with groups and collections of similar objects. Above, a collection of Instrument Mutes gather without comment on a work surface.
This miniature China Tea Set sits atop a found-object sculpture, which can be seen center gallery in the top photo.
He could be creating a series of hanging, grouped objects with this precarious Scissors Sculpture, which is joined in the show by a cluster of hanging whistles and also bike lock chains.
There are at least four works that involve folded paper money (can we call it origami?) including this lovely Shawl.
Not everything works, but I enjoyed the “group show” feel and the excitement of continuous discovery as I walked around the gallery taking in all of the different pieces. It will be fun to see which ideas he chooses to develop for future shows and which are abandoned.
Too Many Ideas By Holton Rower will be on Exhibit through May 4th, 2014 at The Hole, Located at 312 Bowery (at 2nd Street), NYC. Visit The Hole NYC for Gallery Hours and More Information.