Becoming Van Leo A project by Negar Azimi and Karl Bassil, Arab image Foundation Self-portrait Cairo, Egypt, November 22, 1958 Collection Arab Image Foundation/ The American University in Cairo ©The American University in Cairo

A show of self-portraits curated by Shirin Neshat is on exhibit at the Leila Heller Gallery. Neshat began posing for her own camera in 1993 and this led to her series of photographs Women of Allah. Rather than a projection of her own persona, she styled herself after warrior women, drawing on the role Muslim women played in the 1979 Iranian Islamic Revolution.

Neshat says that her exploration into self-depiction was inspired by Frida Kahlo. “As a young art student in the mid 1980s, I remember developing an obsession with the Mexican artist Frida Kahlo and her self-portraits. I was astonished by how her powerful paintings pulled the viewer in to her private world to witness the beauty and the horror she experienced in her personal life. Through the depiction of her own body and the use of visual metaphors, Frida Kahlo let loose her emotional and psychological anguish, her spiritual and moral orientation, and most importantly she revealed that art operates somewhere between the artist’s conscious and subconscious.”

Shirin Neshat Photographed by Stephan Würth for SPREAD 2010

In this exhibition Neshat brings together an eclectic mix of canonical western artists known for redefining the art of photographic self-portraiture like Robert Mapplethorpe, Cindy Sherman and Matthew Barney, but also Iranian and Middle Eastern artists like Shahram Karimi and Youssef Nabil, and those who have developed more extensive fictional personae as a way of exploring the psyche.

Becoming Van Leo A project by Negar Azimi and Karl Bassil, Arab image Foundation Self-portrait Cairo, Egypt, February 18, 1944 Collection Arab Image Foundation/ The American University in Cairo ©The American University in Cairo

Iké Udé Sartorian Anarchy: untitled #4 2010 Pigment on satin paper Edition 3 of 3 Courtesy of the artist

Marina Abramović Portrait with Falcon 2010 Silver gelatin print Edition 5 of 25 3 APs © Marina Abramović

Paolo Canevari, Colosso 2001 Black and White print AP, edition of 3

The Mask & The Mirror, Curated by Shirin Neshat – November 3 – December 21, 2011
Leila Heller Gallery Chelsea: 568 West 25th Street New York, NY 10001

Marilyn Minter, Trickle, 2010 C-Print

Far from the sweaty sidewalks of New York in the cooler climes of Gstaad, better known for its ski resorts, Marilyn Minter is co-curating a show with Fabienne Stephan titled SWEAT. The show at Patricia Low Contemporary includes works by Matthew Barney, Kate Gilmore, Mika Rottenberg, Cindy Sherman and Kiki Smith among others – with depictions of the skin’s secretions ranging from the erotic to the mundane.

Cindy Sherman : Untitled 1985

Sweat is the conditional response of our skins, the body’s largest organ: try as we might to mask the hint of arousal and exertion, the thin wet odorous film is a primitive and instinctual expression of our latent desires, a Pavlovian reflex to fear and sex. While Minter’s work explores the erotic surface tension of dirt and sweat, Kiki Smith’s work is one of abstract crystallized droplets, and Ryan McGinley photographs a runner in the saintly glow of exhaustion.

In an interview for Spread, Minter spoke to me of her focus on body fluids, “ I am not interested in shock value; anything forensic, like scars, doesn’t interest me.  It has to be something that could happen. Nothing surreal, just things that exist: snot, drool…licking.”

Mika Rottenberg’s video, Fried Sweat, involves a sweaty bodybuilder that subsequently vanishes, the material body transforming into ether. It plays with the ideas of expenditure of energy as in her earlier video Tropical Breeze, where the product of labour results in sweat-soaked tissues that Ms Rottenberg once tried to sell on Ebay as an art experiment, but in this case, the result of perspiration did not lead to success.

Ryan McGingley, Coley (Injured) 2007 C-Print

Kiki Smith, Five Elements of a Dewbow, 1999 Glass

Rottenberg, who was once Minter’s student at SVA, had also collaborated previously with Minter on an installation for Sweat in Paris in 2008. Rottenberg described the collaboration, “It was Marilyn’s work, [with a photograph of] sweaty armpits – you had to move the piece and there was a peeking hole, and I had the video (Fried Sweat) behind her photograph.”

Interview with Mika Rottenberg in issue#5 of Spread p20-21 online;
Interview at installation set for Squeeze, 2010)
Patricia Low Contemporary, Sweat August 8-October 10th, 2010, PARKSTRASSE     3780 GSTAAD     SWITZERLAND

In 1985, when billionaire Greek industrialist Dakis Joannou bought the first piece of his now world-renowned contemporary art collection—a basketball signed by Dr. Jay submerged in a tank of water and simply titled “Equilibrium”—it started two chain reactions. One, Mr. Koons would never have to worry about people buying his work again, as Jonnau has been very successful in buying up most of it for his monolithic museum in Athens. Secondly, Joannou would be very adept in helping to solidify emerging artists and future greats (Terrence Koh, Cindy Sherman, Takashi Murakami), as well as helping to shape the very nature of collecting.

And thus, in the middle of last week, the world got the first look at Jeff Koons’ curatorial debut: “Skin Fruit: Selections for the Dakis Joannou Collection.” On how he chose the pieces for the exhibition, Koons told SPREAD ArtCulture: “I did everything very intuitively. I’ve known Dakis since 1985, and from meeting with him and following the collection from that time, I just wanted to try and capture what I felt represented his interests and his ambition and broadness in collecting contemporary art…but very intuitively.”

SPREAD ArtCulture: Is this your first of many curating efforts?

Jeff Koons: I think artists always curate their own work, but I have an Ed Paschke show that will open in about two weeks that I will curate that I brought together. But it’s like anything: When you’re creating an artwork, you’re just following your interests, and in curating, it’s the same thing. But it’s intuitive, there’s a lot of great work. Some of the best art pieces, some of the best works in the collection, aren’t here. Maybe they’re on loan or it’s an artist’s work that didn’t it within this context of looking at the body.

SAC: How did you choose the pieces in this show and under what context?

JK: It’s just my intuition. I would go through the collection and choose works that I felt represented Dakis’s desire with the collection, and I would go back through and go over them again, and I would find that I was always coming up with the same things. And I made models of the museum; I would lay things out and they developed their own relationships, and it’s just the same when you’re following your own ideas and creating your own works that this happens. It got to a point where if I would try and move something on one of the floors, and take it from one location to another, for me, it just wouldn’t work.

Some of the artists we were able to speak to at the opening, such as Terence Koh, were far less articulate about their involvement in the show:

A sculpture by Terence Koh

SPREAD ArtCulture: Tell me about your involvement in Skin Fruit.

Terence Koh: I was just chosen.

SAC: What are you working on now?

TK: Drinking water.

Koh was the only artist to have sculptures, as well as paintings, in the show.

Some patrons, such as the Chelsea behemoth Tony Shafrazi, were able to weigh in with the learned authority of and award-winning curator (Shafrazi was the recipient of Rob Pruitt’s “Best Group Show” in 2009 at the first ever Art Awards):

"Noodles" by Urs Fischer

SPREAD ArtCulture: What do you think of the show?

Tony Shafrazi: I love the show! I think it’s an eclectic wonderful representation of what’s going on. Dakis is a great collector, and has been for many years, and you see such a great mixture of young, new work, such as been selected from a great many things. I love this Fischer piece right here (Urs Fischer’s “Noodles”), don’t you just love it? It’s one of my favorite pieces in the place. Every piece in here is interesting.

Charles Ray's "Aluminum Girl"

"Fall '91" by Charles Ray (foreground); Terence Koh's "Chocolate Mountains" (background)

Charles Ray's "Revolution Counter-Revolution"

A piece by Downtown favorite and partner of the late Dash Snow, Dan Colen

Dan Altmejd's calamitous "Giant"

Maurizio Cattelan's very bland and largely pedantic "All," an eight-piece installation featuring life-size body bags carved from Carrara marble

"Untitled (Jack)" by Paul McCarthy, which could be a prop straight out of Kubrick

A wonderfully whimsical and weird colloboration by the team of Paul McCarthy and Paula Jones

A wonderfully whimsical and weird colloboration by the team of Paul McCarthy and Paula Jones

There seemed to be a very even split among opening-night patrons as to whether or not the show was a success. Check it out for yourself until June 6th and let us know what you think.

"Majestic"

Lori Nix arrived in New York from a small town in Kansas in the late 90s to work in a photo lab. Realizing that New York was the center on the photography universe, she picked up and moved from a town with two traffic lights to the bustling metropolis she now calls home.

Nix has carved out a niche for herself in the world of photography: she and her collaborator Kathleen Gerber (a self-described “model maker”) spend anywhere from 3 to 7 months constructing scale models of post-apocalyptic scenes with such painstaking detail that one doesn’t always surmise that they’re models upon first viewing. The relationship is nearly perfect, with Gerber taking care of all the painstaking minutia that Nix “doesn’t have the patience for.”

"Church"

Scenes the pair has created over the years have included theaters, bars, libraries, a church, a laundromat, and others, including a backdrop from a Museum of Natural History under renovation. Every model starts with one object, which then acts as an anchor to tie the rest of the model to, in terms of scale. For the library, it was a globe. In the theater, it was a miniature piano. What do they do with the models once they’ve finished with the photography, which can take up to 2 weeks days? “We get rid of it,” explains Lori, over lunch in Manhattan’s Standard Grill. “After we’ve spent that much time building one of the models, we can’t get it out of our sight fast enough.”

Director of Light Work, Jeffrey Hoone, says it best: “Over the past thirty years, the constructed photograph has become an integral voice in the dialogue of contemporary photography. From Bernard Faucon’s carefully constructed scenes of mannequins of children, to Laurie Simmons’ and Cindy Sherman’s pivotal deconstructions of gender roles, to Jim Casebere’s elegant architectural studies, to the monumental productions by Jeff Wall and Gregory Crewdson, the practice of constructing images from the imagination has allowed photographers to explore, question, and extend pliable links between the veracity of photography as evidence and the photograph as extension of the imagination. As an artist in her early thirties Nix isn’t very far removed from the experiences that inform her work. Recalling a pond that froze over early in the season trapping thousands of frogs in the ice and then chipping them out to throw at her sister is a memory site that she continues to evolve as her work matures. When you compare her work to that of Jeff Wall or Gregory Crewdson, whose epic scenes and monumental scale can overwhelm the viewer with their technical virtuosity, Nix’s photographs, while describing disaster and impending doom, come across with the innocence and visceral impact of a scary story told around the campfire. And like any well told story the power of Nix’s photographs rely as heavily on the imagination and trepidation of the viewer as they do on the strength and timbre of her voice.”

Look for much more to come from the lens of Lori Nix.

Lori Nix's "Library," which was completed over the course of 7 months

Rob Pruitt and the Delusional Downtown Divas

The Solomon R. Guggenheim Museum recently announced with event partner Calvin Klein Collection a new art event premiering in 2009: Rob Pruitt’s The First Annual Art Awards at the Solomon R. Guggenheim Museum in Association with White Columns, to be held on Thursday, October 29, 2009.

Artist Rob Pruitt, whose conceptual practice is rooted in a pop sensibility and a playful critique of art world structures, has conceived the event as a performance-based artwork which follows the format of a Hollywood awards ceremony. The Art Awards will be an annual celebration of select individuals, exhibitions, and projects that have made a significant impact on the field of contemporary art during the previous year, specifically, for this year’s ceremony, from January 2008 to June 2009.

According to Mr. Pruitt, “This annual gesture will function as a community-building and philanthropic event for the Guggenheim Museum, White Columns and, in 2009, Studio in a School, while simultaneously mobilizing the wide ranging talents and energies of the international arts community, focusing on our mutual admiration and support for one another’s unique endeavors.” Mr. Pruitt continued, “With one eye on supporting our great institutions, and the other on injecting our community with a renewed sense of energy, spirit, and a dash of showbiz glamour, we are pleased to announce this very unique event.”

Richard Armstrong, Director of the Solomon R. Guggenheim Foundation and Museum, stated, “As the impresario behind the First Annual Art Awards, Rob Pruitt presents a daring new event model injected with the humor that underscores his work. Pruitt’s orchestration of this performative piece—with the rotunda as center stage—is aligned with the Guggenheim’s mission to continue to engage and present contemporary artists.”

“The First Annual Art Awards, held at the Guggenheim Museum, will celebrate today’s most interesting and respected artists, in an entirely innovative way,” said Malcolm Carfrae, EVP Global Communications, Calvin Klein, Inc. “Calvin Klein, Inc. has always been a huge supporter of the arts and we are thrilled to be a part of such a groundbreaking event that celebrates the arts community and gives it the recognition it deserves.”

Pruitt has invited the Delusional Downtown Divas to preside over the event as Masters of Ceremonies, and Glenn O’Brien will step in as the Announcer, or, as Pruitt describes his role, as “the Voice of God.” An additional distinguished list of presenters will participate in distributing the awards, created by Pruitt to resemble a celebratory bucket of champagne that also serves as a fully functional lamp. The presenters will include Cecily Brown, Sofia Coppola, James Franco, Knight Landesman, Nate Lowman, and Mary-Kate Olsen, among others. Original music has been composed by Matthew Friedberger of the Fiery Furnaces, who will perform at the event. Christine Muhlke, food editor of the New York Times Magazine, is curating the cuisine for the seated dinner.

Lifetime Achievement Awards, determined by Rob Pruitt along with organizing partners the Solomon R. Guggenheim Museum and White Columns, will be awarded to Joan Jonas and Kasper König. In addition, a group of more than four hundred art world professionals has been invited to form a Nominating Council that will select four nominees in nine categories that focus primarily on exhibitions and projects that took place over the preceding eighteen months (January 2008 to June 2009), in the United States, as well as one category recognizing an international exhibition. The Rob Pruitt Award is being decided solely by the artist. Of the following list of nominees, a larger group (including the Nominating Council) will establish the eventual winners, who will be announced at the live awards ceremony on October 29. The ten categories—in addition to the Lifetime Achievement Award—and the nominees for each category are:

Artist of the Year
• Louise Bourgeois
• Urs Fischer
• Dan Graham
• Mary Heilmann

Curator of the Year
• Klaus Biesenbach
• Daniel Birnbaum
• Connie Butler
• Massimiliano Gioni

Exhibitions Outside the United States
• Francis Bacon, Tate Britain, London
• Jeff Koons, Versailles, Château de Versailles, France
• Mike Kelley: Educational Complex Onwards: 1995–2008, Wiels Contemporary Art Centre, Brussels
• Wolfgang Tillmans: Lighter, Hamburger Bahnhof, Museum für Gegenwart, Berlin

Group Show of the Year, Gallery
• A Twilight Art, Harris Lieberman, New York
• Who’s Afraid of Jasper Johns? Tony Shafrazi Gallery, New York
• Your Gold Teeth II, Marianne Boesky Gallery, New York
• ZERO in New York, Sperone Westwater, New York

Group Show of the Year, Museum
• After Nature, New Museum, New York
• The Pictures Generation, 1974–1984, Metropolitan Museum of Art, New York
• The Quick and the Dead, Walker Art Center, Minneapolis
• WACK! Art and the Feminist Revolution, P.S. 1 Contemporary Art Center, Long Island City, New York

New Artist of the Year
• Elad Lassry
• Daniel McDonald
• Marlo Pascual
• Ryan Trecartin

The Rob Pruitt Award
• To be announced the evening of October 29, 2009

Solo Show of the Year, Gallery
• Cindy Sherman, Metro Pictures, New York
• Manzoni: A Retrospective, Gagosian Gallery, New York
• Paul Sharits, Greene Naftali Gallery, New York
• Picasso: Mosqueteros, Gagosian Gallery, New York

Solo Show of the Year, Museum
• Dan Graham: Beyond, Museum of Contemporary Art, Los Angeles, and Whitney Museum of American Art, New York
• Lawrence Weiner: As Far as the Eye Can See, Museum of Contemporary Art, Los Angeles, and Whitney Museum of American Art, New York
• Live Forever: Elizabeth Peyton, New Museum, New York
• Martin Kippenberger: The Problem Perspective, Museum of Contemporary Art, Los Angeles, and Museum of Modern Art, New York

Writer of the Year
• Tim Griffin
• John Kelsey
• Walter Robinson
• Jerry Saltz