Marianne Vitale, Fat City (Installation View), via CFA

Now through April 22, the Contemporary Fine Arts Gallery in Berlin presents Fat City, a show of works by New York-based artist Marianne Vitale.  For her second exhibition at CFA, Vitale has constructed a series of sculptures that reflect critically and ironically upon American identity, industry, and the concept of the American Dream.  The title of the exhibition takes its name from a 1969 Leonard Gardner novel, in which the protagonist, an alcoholic and semi-retired boxer, drifts down the streets of Stockton, California encountering the melancholy sights of American progress along the way.  In Vitale’s work, symbols of a particularly nostalgic America (such as boxing and steel) appear in the gallery, and speak to the fictional, narrative quality of this national identity.  (more…)

Marianne Vitale, Equipment (Installation View), via Art Observed

Marianne Vitale has joined Invisible-Exports this fall for her first exhibition with the downtown gallery, bringing a single installation of handmade torpedoes that plays on concepts of military machismo, violence, weaponization, and the underlying threads of handicraft and technology that unite these elements in the utilization and application of deadly force.  Looming over the viewer in the center of the gallery space, Equipment’s inverse pyramid translates the artist’s long fascination with technology and materiality into a strikingly immediate, and highly animated format.   (more…)

Marianne Vitale, Beam Work (2016), via Art Observed

Venus Over Los Angeles has brought artist Marianne Vitale to exhibit in the West Coast for the first time this month, offering its ample exhibition spaces east of the river to the New York artist for a pair of monumental installations that continue her intuitive blend of simple sculptural gestures and massively-scaled material to open a space for reflection on force, structure and time.

Marianne Vitale, Thought Field (detail) (2016), via Art Observed (more…)

Frieze New York has announced its 2013 “Projects”, a selection of seven specially commissioned works that will be brought to life at the fair this May.  The show will feature works by Liz Glynn, Maria Loboda, Mateo Tannatt, Andra Ursuta, Marianne Vitale, a special tribute to the artist-run restaurant Food, and an original text by novelist Ben Marcus.  Says Frieze New York Projects Curator Cecilia Alemani: “For the second edition of Frieze Projects in New York, I asked the commissioned artists to intervene in the fair and its surrounding landscape by staging challenging works that play with everyday habits and collective behaviors. Basic actions such as eating, drinking, speaking and praying serve as the starting point for a series of site- specific installations that engage the ritualistic dimension of the fair and the unique landscape of the island.” (more…)

SculptureCenter’s annual fundraising event, Lucky Draw 2010. All images via SculptureCenter.

AO was on site for Lucky Draw 2010, a spirited annual benefit thrown by SculptureCenter to raise money for its exhibition program.  This year’s event set a new record for the highest gross, bringing in over $120,000 to the non-for-profit arts institution located in Long Island City, New York.

Volunteers moving a work by Kerstin Brätsch and Adele Röder (DAS INSTITUT)

On April 13, 2010, as ticket holders surveyed the offerings and made lists of their top picks, no one seemed to worry that the event’s unlucky date would disturb anyone’s luck.  The room was abuzz with excitement: unlike most art auctions, in this event the order in which the artworks are selected is determined by a lively and suspenseful random drawing.  The ticket price, at $450 a head, draws both novice and experienced collectors.

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“The Clipper” – The Marianne Vitale Experience presented by Kunstverein NY at White Slab Palace. Photograph by Christopher Marcus.

On Saturday, March 28, Biennialist Marianne Vitale brought together a group of writers, performers, poets, and thinkers to realize a collaborative artist cabaret – THE CLIPPER. The performance was presented by Kunstverein NY as part of YOU SHOULD HAVE BEEN THERE AN HOUR AGO – a monthly series that is guest-curated by performance artists, filmmakers, and writers that will be presented at White Slab Palace on the last Sunday of each month, from 6-8pm. The evening staged gallery-grade performance art angst, supported by a full, live jazz/rock ensemble.  Taking us back to the Seventies (1970, 1870 and 1770) on a mock ship stage, replete with ol’factory mood-setting dead fish decoration, the experience meshed nightclub glamarama with Musikverein-ish social opera via a Royal-Court-like contemporary art jestering.  Characters got interactive with seaweed tossing, singing sailors and a happy sea-woman, amidst a revolutionary who cleans up the conceptual act after a human clam unloaded salty water onto the crowd.  Screaming drunkards, lovers, a dancing drag, and a silent naked golden muse masthead paint a tableau of today – lambasting fraudulent eco-capitalism, problematizing political pirates, and debating and delighting in dead-end debauchery.  The troupe delivered the evening’s themes, both simple and complex, to an audience who each shared a moment of their own stardom for some part of the rough half hour. The occasional reading from the script on stage reminded viewers that this was a coordination of mostly performance artists deft in-the-moment energy.

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“The Clipper” – The Marianne Vitale Experience presented by Kunstverein NY at White Slab Palace.

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Strange Attractors, Aki Sasmoto – all photographs by Oskar Proctor for Art Observed.

This week the Whitney Museum of American Art, New York opened its doors for the 75th edition if its defining exhibition: The Biennial. Simply titled, 2010, the show rejects an organizational theme and instead uses time as its marker in a matter-of-fact cross-section of American art today. The show is one of the smallest in the Biennial’s history – works by only 55 artists and collaborative teams are displayed on four floors of the museum’s ‘Breur Building’ in Manhattan’s Upper East Side. This year the entire third floor of the building has been taken dedicated video installation – first exhibited at the Biennial in 1975 – a sure sign that video work has now reached maturity, worthy of recognition as an independent art form. In addition, the museum’s fifth floor is devoted to artists in the Whitney’s permanent collection who have shown in past Biennials.

Francesco Bonami, Curator of Whitney Biennial 2010

Whitney Biennial 2010 – Interview with curator Francesco Bonami via VernissageTV

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