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David Frankel, MACP faculty member, writes on Laurie Simmons's new film "My Art"

Stealing the Scene by David Frankel WHEN LAURIE SIMMONS’S new film My Art was screened at the Whitney Museum last fall, the artist-and-now-movie-director accompanied it with a talk in which she remarked on how few films had gotten the business of being an artist right. Indeed, so many films that have gotten it wrong come to mind—we probably all have our own cheesy favorites—that the prospect of a movie on artmaking by a feminist artist of Simmons’s standing, and one that she not only directed but wrote and stars in, seems likely to draw murmurs of “At last.” Certainly when the film finds a distributor—it plays at the Tribeca Film Festival April 22 and subsequently—New York art audiences wil

Exhibition at the Bronx Museum of the Arts curated by MACP faculty Sofía Hernández Chong Cuy feature

‘Love Thy Neighbor’ exhibition tackles cohabitating cultures, safe spaces By Tiffany Moustakas A few months ago, Sofía Hernández Chong Cuy watched students visiting the Bronx Museum of the Arts study a large drawing of a border fence. The fence was part of a new exhibition at the museum Cuy is curating. But what surprised her was the students wondering aloud if the fence was separating the Bronx with Manhattan. It was then Cuy realized a large-scale exhibition can draw out local social issues she never even considered before. “To notice that these children (were) speaking about the divisions that they’ve experienced or feel that exists between one borough and the other, to me, was actually

Featured in Contemporary Art Review LA, MACP fellow Ikechukwu Casmir Onyewuenyi reviews the performa

The Limits of Animality by Ikechukwu Casmir Onyewuenyi Simone Forti is in the midst of an august ascent. These past few years, the octogenarian L.A.-based dancer, choreographer, and writer has seen her stock soar, with the likes of the Museum of Modern Art (MoMA) formally acquiring, this past December, seven of Forti’s Minimalist Dance Constructions (1960-61). These task-based dance repertoires evidence Forti’s choreographic range that is every bit quotidian yet idiosyncratic, with ordinary gestures made notable, maybe even romantic, via entanglements with circumstance and chance. In making work that involves all this, Forti has fostered a sincere approach to dance that foregrounds the poten

MACP announces major year-end exhibitions

MA Curatorial Practice year-end exhibitions School of Visual Arts (SVA) April 22–May 14, 2017 Opening: April 21, 6–9pm Pfizer Building 630 Flushing Avenue Brooklyn, NY 11206 April 21 will bring the unveiling of eight curatorial projects presented by the MA Curatorial Practice program at the School of Visual Arts. The breadth of these projects reflects our range of concerns as citizens of a contemporary world entering a new period of political crisis, technological disruption, and environmental danger, while the artists joining with us in our thinking and production as curators bring extraordinary, inspirational energy to the tasks at hand. The professional training undergone in our progra

Knockdown Center presents performance of “Flight Over Wasteland,” a reimagining of T.S. Eliot’s poem

Flight Over Wasteland Liliya Lifanova in collaboration with Hiroya Miura Knockdown Center April 12 – 16, 2017 Open Rehearsals: April 12 – 14, 2-6pm Performance: April 15, 3pm Flight Over Wasteland is a project by visual artist Liliya Lifanova in collaboration with composer Hiroya Miura, and choreographer Davy Bisaro. This collaborative team reimagines T.S. Eliot’s modern epic poem The Waste Land in a series of evocative tableaux vivants, choreographed gestures, actions, sculptural objects, and sound. Eliot’s poem, The Waste Land attracted Lifanova for its ability to reflect the complexity, brokenness, and collaged nature of the present moment, with its multiple voices, points of view, quo

Jasa McKenzie, MACP fellow, receives apexart’s Franchise Exhibition Program award for an exhibition

You’re Not Sick, You’re Weak addresses the perception of mental illness in Eastern culture. A nation in dire need of mental health awareness is Japan, which holds a harrowing suicide rate from undiagnosed issues in a population too bound by stigma to seek help. This exhibition provides a platform for artists who have experience with mental illness. Their works express their perspectives to the public, giving the artworks a voice to shout in a culture that has them on mute. The exhibition features Eastern and Western artists who work with concepts of mental illness. It explores cross-cultural commonalities in experience and depiction of mental illness, exemplifying the acceptance mental il

Article by Daniel Kunitz, MACP faculty member, entitled "How Art Has Depicted the Ideal Male Bo

How Art Has Depicted the Ideal Male Body throughout History By Daniel Kunitz In the history of masculinity, it is money rather than muscle that tends to be articulated. Class or status has been the determining factor in the defining of male exemplars. Be it in the East or West, the epitome of a handsome man has generally been an idealized version of an upper-class individual, an archetype that has itself changed over time. Because of this, people in many cultures have confronted muscle—today more commonly understood as a symbol of virile masculinity—as a problem. For much of history, muscles have been seen as vulgar, meaty indicators of labor; rather than strength they have suggested oafishn

David Frankel, MACP faculty member, writes on James Coleman in the April issue of Artforum

James Coleman by David Frankel This multipartite show by the Irish artist James Coleman included two fairly new works (Untitled, 2011–15, and Still Life, 2013–16); a mini-retrospective of five works from 1970, the year of Coleman’s first exhibition; a loner work bridging the turn of this century (D 11, 1998–2002); and a work begun in 2004 and still in process (Working Arrangement—horoscopus)... Read the full article on Artforum.

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