Wander Wonder

Tuesday, June 18, 2013

Summer 2013

Rain Room

May 12 - July 28 2013

Random International’s immersive environment Rain Room (2012), a major component of the MoMA PS1 exhibition EXPO 1: New York, is presented in the lot directly adjacent to The Museum of Modern Art. A field of falling water that pauses wherever a human body is detected, Rain Room offers visitors the experience of controlling the rain. Known for their distinctive approach to contemporary digital practice, Random International’s experimental projects come alive through audience interaction—and Rain Room is their largest and most ambitious to date. The work invites visitors to explore the roles that science, technology, and human ingenuity can play in stabilizing our environment. Using digital technology, Rain Room creates a carefully choreographed downpour, simultaneously encouraging people to become performers on an unexpected stage and creating an intimate atmosphere of contemplation.The entrance to Rain Room is on West 54 Street, between Fifth and Sixth avenues.
[Site]

Guggenheim: James Turrell

June 21 - Sept 25 2013

James Turrell’s first exhibition in a New York museum since 1980 focuses on the artist’s groundbreaking explorations of perception, light, color, and space, with a special focus on the role of site-specificity in his practice. At its core is Aten Reign (2013), a major new project that recasts the Guggenheim rotunda as an enormous volume filled with shifting artificial and natural light. One of the most dramatic transformations of the museum ever conceived, the installation reimagines Frank Lloyd Wright’s iconic architecture—its openness to nature, graceful curves, and magnificent sense of space—as one of Turrell’s Skyspaces, referencing in particular his magnum opus the Roden Crater Project (1979– ). Reorienting visitors’ experiences of the rotunda from above to below, Aten Reign gives form to the air and light occupying the museum’s central void, proposing an entirely new experience of the building.
[Site]

Rockabilly Night Market

July 4 2013

[Tickets]

Sleep No More

The brainchild of the British theater company Punchdrunk, the show takes place at imaginary McKittrick Hotel in Chelsea, where 93 rooms on six levels have been meticulously transformed with props ranging from hair samples to taxidermy animals to drying herbs. Audience members (who wear masks to distinguish themselves from the actors) are free to open drawers, flip through books and sample real treats from a candy store as they roam the hallways and hidden corridors in search of the action. Yes, this all sounds a bit mysterious and may be difficult to grasp. But the less you know, the better. Just know this: There's no right way to experience "Sleep No More." Follow an actor. Follow the crowd. Follow the music. Second, ditch your friends or significant other and take your own journey. (You won't succeed in trying to stay together anyway.)
[Site] [Tickets] [Photos]

Gallow Green

Rooftop bar of the McKittrick Hotel.
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Dia:Beacon
Canada

Wednesday, April 10, 2013

Bolshoi Theatre in Moscow

Saatchi & Saatchi

Edward Bawden & Environments

Wednesday, October 17, 2012

Study: The Death Bed

Joseph Dionysius Odevaere. Lord Byron on his Death-Bed. 1826. French Neo-Classicism.

Joseph Dionysius Odevaere. Death of Phocion. 1804. French Neo-Classicism.

Jacques-Louis David. Death of Socrates. 1787. Neo-Classicism.

Henry-Joseph de Forestier. La mort de Jacob. 1813. Neo-Classicism.

Jean-Pierre Granger. Antiochus renvoie son fils à Scipion. 1800. Neo-Classicism.

Claude Monet. Camille Monet on her Death Bed. 1879. Impressionism.

Jerome-Martin Langlois. Priam at the Feet of Achilles. 1809.

Dmitri Belyukin. Portrait of Tsar Nicholas II, Tsaritsa Alexandra Feodorovna and Grand Duchess Elizabeth Feodorovna. 1993.

Rembrandt. Diana Bathing With Her Nymphs, With The Stories Of Actaeon And Callisto. 1634.

Bartolomeo Manfredi. Mars Chastising Cupid. 1613.

Jean-Louis-Ernest Meissonier. The End of the Game of Card. c. 1870.

Michel-Martin Drolling. La colère d'Achille. 1810.

Monday, October 1, 2012

Study: Body I

Pablo Picasso. Woman Ironing. 1904.

Pablo Picasso. Boy Leading a Horse. 1905-1906.

Marcel Duchamp. Nude Study: Sad Young Man in a Train. 1911-1912.

Duchamp’s primary concern in this painting is the depiction of two movements, that of the train in which we observe the young man smoking and that of the lurching figure itself. The forward motion of the train is suggested by the multiplication of the lines and volumes of the figure, a semitransparent form through which we can see windows, themselves transparent and presumably presenting a blurred, “moving” landscape. The independent sideways motion of the figure is represented by a directionally contrary series of repetitions. These two series of replications suggest the multiple images of chronophotography, which Duchamp acknowledged as an influence, and the related ideas of the Italian Futurists, of which he was at least aware by this time. Here he uses the device not only to illustrate movement, but also to integrate the young man with his murky surroundings, which with his swaying, drooping pose contribute to the air of melancholy. [x]