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Two miraculously well-preserved robes nearly one thousand years old from Islamic Central Asia are on display at Carlo Cristi as part of Asia Week. Made from silk and cotton, they feature a band of inscriptions across the shoulder, as well as fur cuffs and collars. Other beautiful and amazingly well preserved textiles are on display, as is a brightly colored Heruka mandala dating from the early 13th century, making it one of the earliest known mandalas in existence.
Carlo Cristi (Brussels, Belgium)
Heruka mandala made for the Bardo ritualâš
West Tibet, early 13th centuryâš
Distemper on cotton
32.25 x 39.25 inches (81.9 x 99.7 cm)
by Louie Rigano
Guest Blogger | New York
Jazz at Lincoln Centerâs Frederick P. Rose Hall
Broadway at 60th Street, New York City
The International Center for Photography (ICP), an influential space for the medium in New York, will be taking a critical look at fashion imagery during its annual ICP Spotlights luncheon. Experts at the event will be discussing issues Glass is concerned about: fashion and identity, gender issues, and new technology. W Magazine, this year's ICP Spotlights partner, will also contribute to the conversation.
Collier Shorr, Untitled (back), 2011. Â© 303 Gallery
Panelists include Stefano Tonchi (Editor in Chief, W Magazine), Carol Squiers (ICP Curator), Polly Mellen (stylist and fashion editor), and photographers Collier Schorr and Mario Sorrenti, and items of a silent auction include a private tour of AIPAD, one-year ICP membership, a Lillian Bassman print, a visit to Vik Muniz's studio, a 10-week tutorial at ICP, and a day at W Magazine.
Contact: Samantha Mascali
email@example.com or 212.857.0032
A discourse on vectors and hosts with
philosopher Suzanne McCullagh and educationalist Renee Jackson
The Container Gallery | 14 January â 31 March 2013
Opening reception: 14 January 2013, 19:30-21:30
For the past two decades or so Venezuelan visual artist Beatriz Inglessis has been transforming dull images of science into whimsical art. She reconfigures imagery from medical books (her parents are doctors) into playful constructs, conjuring a universe of exuberant anatomies and diseases. Playfulness resides at the heart of her aesthetic practice, and she considers artist Kiki Smith, philosopher BriceĂ±o Guerrero and theorist Brian Sutton-Smith as influencers â they are proponents of using childlike expressions to transmit universal truths.
As we know, art and science have never been easy collaborators: one is empathic and emotional, the other rational and analytical. Literary theorist Terry Eagleton described the two irreconcilable fields in the London Review of Books as such: âart is organic, science is mechanical.â But for her first solo show in Tokyo â at the Container Gallery (curated by Shai Ohayon) â Inglessis insists on synthesis. She installed a paper cutout of a mosquito biting a cross section of the human skin in the tiny space as a way to explore how diseases are transferred from vectors to humans. To reinforce the show's framework, she also invited philosopher Suzanne McCullagh and educationalist Renee Jackson to build a discourse around the sculpture.
The Container (inside Bross hair salon),
1F Hills Daikanyama 1-8-30 KamiMeguro Meguro-ku Tokyo 153-0051
Monday â Friday 11:00-21:00
Saturday â Sunday (+holidays) 10:00-20:00
Closed on Tuesdays
(in collaboration with Super Window Project)
The real and fictional works of American artist LG Williams/The Estate of LG Williamsâą defy categorization, and satirizes the very art world the artist inhabits. He trademarked his name, and the name of his "estate," before he is even a brand â or dead. Williams likes to poke fun at artists, collectors, dealers, galleries, curators, and museums, or anyone or anything that profits from the art business, and put them to the test to see what happens. The only risk is the artist himself relies on the same superstructure to get his message out, and this inherent paradox makes his anti-art art intriguing. Through clever installations and tongue-in-cheek sloganing, Williams questions the authenticity of contemporary art with a Houellebecqian viewpoint: that in a capitalistic system there are inevitably winners and losers â but Williams does it with more charm than the novelist.
The Official Site of LG Williams/The Estate of LG Williamsâą
Supportico Lopez | KurfĂŒrstenstrasse 14/b, 10785 Berlin | 23/11/2012â05/01/2013
Works by "post-conceptual" artist J Parker Valentine will be on display this month at Galerie Max Mayer in DĂŒsseldorf and Supportico Lopez Gallery in Berlin. The solo shows, both called "Who Made Who," will feature multimedia constructs and abstract drawings from the artist's ongoing contemplation on the relationship between sculpture and image â and between the art object and its creator. Even though they share the same title, Valentine states that the two exhibitions are "different in constitution from one another, but of one period and a continuous modus of work."
Storefront for Art and Architecture's gallery faĂ§ade designed by artist Vito Acconci and architect Steven Holl (photography by Naho Kubota).
Storefront's latest effort is "Definitions 01: Project," a series of events revolving around specified terms â the inaugural word being "project" â that invites individuals to articulate their understanding of the word "project." At the same time Storefront will also launch PROJECT, a new journal exploring the latest critical theories on architecture. PROJECT is edited by Yale School of Architecture graduates Alfie Koetter, Daniel Markiewicz, Jonah Rowen, and Emmet Zeifman.
Storefront for Art and Architecture
Definitions 01: Project
Past Futures, Present, Futures
Snarkitecture, The Grid; photography by Naho Kubota
John Morrison, Smoke & Mirror; photography by Naho Kubota
Jack Hogan, Burst Bubbles; photography by Naho Kubota
Kara Meyer, Open Book; photography by Naho Kubota
Storefront for Art and Architecture
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