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The Haas Brothers, Meditation not Medication (2017) - edition 500
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The artists have donated the proceeds from the sale of the video to benefit Promesa Boyle Heights.
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"Our first animated piece Meditation not Medication is a character study of a little monster whose purpose in life is meditation. As he closes his eyes he drifts into visions and comes back occasionally to a blissed out present. The video itself is meant to function as a visual meditation. Using imagery from our own meditations on geometry, color and natural mathematics - we hope to engage the viewer in a short guided vision quest."
- Simon and Niki Haas, August 2017
The Museum of Modern Art, MoMA PS1
October 21, 2018 - february 25, 2019
“Video — new to art, cheap to produce, easy to show — became a primary medium for Mr. Nauman and with it he continued, for a while, to be his own most malleable subject. In a piece called “Art Make-Up: No. 1 White, No. 2 Pink, No. 3 Green, No. 4 Black,” he smears his face and bare chest with layers of colored pigment. He’s turning himself into a living painting, but he also seems to be playing with the fictions and stigmas of race at a time — 1967-68 — when America was burning with racial violence.
In the seven-channel video installation ‘‘Mapping the Studio II (Fat Chance John Cage),” from 2001, the body, in all its manifestations, is gone. For this monumental work Mr. Nauman set video cameras running in his studio overnight for several nights to record what happens when he wasn’t there. A lot does: distant dogs bark, coyote cubs howl, mice scamper, cats prowl, hunting. The result is a ground-level study in first and last things. And an art-and-life lesson in how to be absent, and not.”
Bruce Nauman Contrapposto Studies, i through vii 2015/2016
september 26, 2018 - January 20, 2019
Au Naturel is satisfying at every turn. It’s tough. It’s hilarious. It’s beautifully done. And it’s absolutely true to its maker, a proud spitfire—a “rude girl” sensitive to her working-class background and eager to stick it to any mofo who shows her gender disrespect, be it in the workplace, at home or in the tabloids.
From the start of her career in the early 1990s, when she was aligned with the Young British Artists—fellow Goldsmiths graduates like Damien Hirst, Fiona Rae and Gary Hume—Lucas has made art that playfully, and deliberately, countered male depictions of the female body, then went on to pierce the priapic consciousness of so much that came before her. (The show is replete with references to Dada, Surrealism and Minimalism too.) She’s an artist who can evoke sexual relations in witty, scabrous sculptures that simultaneously comment on class and consumerism while paying heed to formal considerations as well.
As curated by the New Museum’s artistic director, Massimiliano Gioni, and his associate, Margot Norton, the show—Lucas’s first in an American institution—unfolds across three floors in displays of sculpture, photography, photographic wallpaper and video that adhere to their original configurations in galleries or in international shows like the Venice Biennale, bringing the work as a whole into sharp focus.
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