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A Brazilian in Paris: Bruno Dunley on His French Solo Debut and the State of Painting in Sao Paulo

bdavis — Sat, 19 May 2012 16:00:02 +0000

A Brazilian in Paris: Bruno Dunley on His French Solo Debut and the State of Painting in Sao Paulo

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Slideshow: Bruno Dunley's work at Paris's 11bis

by Juliette Soulez, ARTINFO France

Published: May 19, 2012

PARIS — One of Paris's newest galleries is giving a young Brazilian artist his French debut: the recently opened 11bis has chosen Bruno Dunley for the third show at its space in the Marais, which will also mark the Brazilian painter's first exhibition in France. Maria do Mar Guinle, director of the See Art + Advisory firm — which specializes in Brazilian art — first discovered Dunley at Art Rio when a painting of his featuring a penguin caught her eye. After Guinle befriended Dunley, his Sao Paolo gallerist Marcela Razuk, and the latter's Paris-based sister Marilla, she asked the young painter to create new works for an exhibition at 11bis, a project space started by See Art and curator Claudia Paetzold's cpCONTEMPORARY. ARTINFO France caught up with the talented and promising artist to talk minimalism, narrative, and life as a contemporary artist in Brazil.

Tell me about your inspiration and the poetics of your paintings.

I'm a young artist; I feel like I'm still at the beginning of my career, and I don’t have a clear idea of the totality of my poetics — maybe I never will. It's as if I'm walking with a candle in my hands, perceiving things gradually as they get closer, too close even. But I have to continue if I really want to see them.

What I paint are approximations, poetic figures, which speak to the uncertainty and the doubt that I think are part of my poetry. This is more overt and intense in relationship between paintings in the new body of work that I'm presenting at 11bis. I see my work as a series of questions and statements about the possibilities of painting, what it is, and what we expect from it. I try to give in to expectations and then break them in the work. I want to take first-time viewers to the limit of existence and acceptance. I think that’s what I’m trying to paint: A painting is finished when it breaks my expectations of the work.

Would you say that your works have narratives?

I like the term "fictions without words." At first you cannot discern a clear narrative or linear trajectory; the paintings seem to have the strength and fragility of something silent, speechless, or dumb. Often we recognize the figure, but there is a strangeness because we cannot reach it or identify its purpose. There is an emptiness that insists on removing these images from the world of things, but the painting remains, it persists; it is a kind of ghost trapped in the paint.

Increasingly I see the poetics come through in the relationship between several paintings or a group of works. Forced interaction between them causes the differences to fade, and the works develop a kind of continuity. Gathered in one space, the paintings show incompleteness and ambiguity; they ask questions. My attempts to frustrate any sense of consistency in imagery or style can be very pronounced; I don't want there to be a single theme or pictorial procedure repeated.

Do you consider your paintings minimalist?

I do not think my painting is minimalist, but I think it appropriates certain aspects of that vocabulary. Often, when I start to paint, I construct a monochromatic surface, a kind of color plate, almost an object. This approach to paintings as objects comes from my experience with these works, and a spatial awareness that it is not the image's perspective that guides our eyes toward a virtual interior, but the surface and its relation to the body and space. The visual clarity in some of my studies may also be related to minimalism, but I'm not thinking about it while I'm working. My concern is creating the painting and searching for the tools to carry it through.

How is it being a painter in Brazil today?

Over the last few decades Brazil has developed a strong contemporary art scene based on traditions that date back to the 1950s, and which today have gained increased visibility in other countries. As a Brazilian artist, I feel like I'm living in a privileged moment. Besides being able to draw from European and American traditions, I also have direct access to Brazilian art history, which, although relatively short, seems timeless.

In Sao Paulo, where I live, the environment is very good for painting. We still don’t have enough historical distance to understand what is happening, but there are many artists working with painting here, which is a relatively recent phenomenon. It's an optimistic moment.

I think the relationships between young painters and artists who began their careers in the 1980s have also helped nurture this environment. For my part, artists like Rodrigo Andrade, Paulo Pasta, and Sergio Sister were fundamental to the development of my work. I maintain a close relationship with these artists as well as others from my generation, like Marina Rheingantz, Rodrigo Bivar, Lucas Arruda, Ana Prata, and Mariana Serri.

Bruno Dunley's exhibition at 11bis continues through June 30.

A version of this article appears on ARTINFO France.

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Contemporary Arts, Galeria Marcela Razuk, cpCONTEMPORARY, Bruno Dunley, 11bis, Maria do Mar Guinle, See Art + Advisory, Paris, Art Rio

Week in Review: Highlights From ART HK and New York Design Week, John Mellencamp on How Life Is, and More

bsutton — Fri, 18 May 2012 21:57:16 +0000

Week in Review: Highlights From ART HK and New York Design Week, John Mellencamp on How Life Is, and More

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by ARTINFO

Published: May 18, 2012

Our most-talked-about stories in Art, Design & Fashion, and Performing Arts, May 14-18, 2012:

ART

— Madeleine O'Dea noted strong sales and an upbeat atmosphere on ART HK's opening day, and then picked the most memorable booths of the fast-rising fair. We also selected highlights from the slew of other exhibitions and events going on in Hong Kong during ART HK.

— Alanna Martinez unveiled part one of a library-in-progress, recommending 20 books that every artist should own, from Lucy Lippard to Giorgio Vasari.

— Kyle Chayka climbed to the very top of Argentine artist Tomas Saraceno's new modular mirror installation on the Metropolitan Museum's rooftop.

— The Art Institute of Chicago prepared to open one of the largest Roy Lichtenstein retrospectives ever, focused on the Pop artist's oft-overlooked formalism.

— Shane Ferro looked into the curiously steady and rewarding market for Latin American art, which in recent years hasn't suffered from the same volatility as other markets.

DESIGN & FASHION

— New York Design Week is upon us, and Janelle Zara picked six must-see events, exhibitions, pop-up shops, and fairs for furniture and design fans, from the main event — the International Contemporary Furniture Fair — to Victorian taxidermy and a pirate radio station.

—Kelly Chan evaluated competing theories for the development of new mega-cities over the next four decades, pitting economist Paul Romer's "Charter Cities" against the IBA model proposed by architect Meta Brunzema.

— Ann Binlot talked to artist Mickalene Thomas about her personal style, from her favorite Maison Martin Margiela sneakers to why she likes Rick Owens knitwear.

— Julia Halperin spoke to MOCA Cleveland director Jill Snyder about the institution's sleek new $27-million, Farshid Moussavi-designed building, which will open later this year.

— Just one day after the first season of NBC's "Fashion Star" ended with our favorite contestant's victory, Ann Binlot spoke to designer John Varvatos — a mentor on the show — about what the second season has in store.

PERFORMING ARTS

— Rock legend John Mellencamp discussed his new retrospective exhibition of paintings at the Tennessee State Museum, which he claimed was Bob Dylan's idea.

— Brooke Shields, Courtney Love, and other celebs showed up to mark the release of Jay McInerney's new short story at the McKittrick Hotel, the West Chelsea venue where the immersive interactive theater piece "Sleep No More" is performed.

— The opening of the Cannes Film Festival was marked by protests and petitions — and an open letter in Le Monde signed by Fanny Cottençon, Virginie Despentes, and Coline Serreau — over the absence of even one single female director among the 22 films in competition.

— Graham Fuller looked into the tragic love affair behind the upcoming Martin Scorsese movie about Rolls-Royce "Silver Ghost," which is set to star Richard Attenborough.

— "The Social Network" director Aaron Sorkin made clear that his next tech biopic, "Steve Jobs," will be as frank about the late Apple CEO's life as his Oscar-winner was about Mark Zuckerberg.

VIDEO

— Tom Sachs gave ARTINFO a tour of his massive Mars mission control performance-installation at the Park Avenue Armory.

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Week in Review, Tomas Saraceno, John Mellencamp, Art HK, New York Design Week, Metropolitan Museum, Art Institute of Chicago, Lucy Lippard, MOCA Cleveland, Cannes film festival, Martin Scorsese, Aaron Sorkin, Steve Jobs

Judge Strikes Down California Resale Royalties Law, Foiling Chuck Close and Laddie John Dill

sferro — Fri, 18 May 2012 21:53:14 +0000

Judge Strikes Down California Resale Royalties Law, Foiling Chuck Close and Laddie John Dill

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by Shane Ferro

Published: May 18, 2012

In what could be a landmark judgment for art law, a California judge struck down California's Resale Royalties Act Thursday on Constitutional grounds, according to Thompson Reuters. ARTINFO reported in March that the judge had issued a tentative dismissal of the case, but the auction houses were waiting for a formal ruling.

The law was enacted to guarantee artists a cut of the proceeds of a secondary market sale, but in her decision, judge Jacqueline Nguyen sitting in U.S. District Court in Los Angeles, declared the law a violation of the Commerce Clause of the U.S. Constitution, which gives the power to regulate interstate commerce to the federal government. The judge sided with the legal teams hired by auction houses Christie's and Sotheby's, and against a class of artists including Chuck Close and Laddie John Dill.

In her decision, the judge wrote:

"Under its clear terms, the (Resale Royalties Act) regulates transactions occurring anywhere in the United States, so long as the seller resides in California. Even the artist — the intended beneficiary of the CRRA — does not have to be a citizen of, or reside in, California. For these reasons, the court finds that the (law) has the 'practical effect' of controlling commerce 'occurring wholly outside the boundaries' of California even though it may have some 'effects within the state.' Therefore, the (law) violates the Commerce Clause."

The lawyer for the artists, Eric George of the firm Browne George, said in an email to Thompson Reuters that the decision "marks a departure from established constitutional law." He added that he hopes the 9th Circuit Court of Appeals in San Francisco will take up the question and overturn the ruling. However, that could be a long shot. Though Nguyen was sitting by designation in District Court in L.A., she was confirmed as a 9th Circuit appellate judge in 2009 (note: not the very conservative, Sothern 11th circuit, as reported by Reuters), so her ruling could be an indication of things to come in the California appeals system.

That said, this Commerce Clause decision only says that California cannot regulate resale royalties on sales funneled through New York auction houses. That leaves the door wide open for Congress to pass a federal droit de suite bill, as has been recently discussed.

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Market News, Art & Law, Shane Ferro, Sotheby's, Christie's, droit de suite

Soundeliers, Snarkitecture, and Irish Stool-Makers: The Democratic Offerings of the NoHo Design District

jzara — Fri, 18 May 2012 21:40:18 +0000

Soundeliers, Snarkitecture, and Irish Stool-Makers: The Democratic Offerings of the NoHo Design District

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Slideshow: See highlights from the NoHo Design District at the Standard Hotel East Village

by Janelle Zara

Published: May 18, 2012

NEW YORK — The 500-plus designers gathering in Midtown at the Javits Center this weekend for the International Contemporary Furniture Fair will be vying for the attention of potential producers, buyers, and retailers of their work. On the last day of the four-day affair, they let the masses in to ogle the latest high-design and luxury goods, but what are us regular folk to do during the rest of New York Design Week? We suggest heading south to a more accessible, more interactive destination called the NoHo Design District.

The annual takeover of the area stretching between Bowery and Broadway was launched in 2010 by Monica Khemsurov and Jill Singer, the former editors of I.D. magazine who currently run the design and culture blog Sight Unseen. "We wanted that extra element of independent designers," Khemsurov told ARTINFO. "We had a specific point of view that we wanted to express that we felt was missing. It's supposed to be the young, fun, edgy, multi-disciplinary place for art." This is the third year the pair have stormed the neighborhood and filled it with four days of interactive exhibitions and events, from storefront installations at Areaware and the Future Perfect, to a Bowery Hotel bash decorated with vignettes by lighting whiz Lindsey Adelman.

This morning, ARTINFO took a tour of one of NDD’s central hubs, the Standard Hotel East Village, whose first two floors have been taken over by an international set of designers, craftsmen, and general visionaries. The first thing visitors will see while approaching the hotel entrance is Irish woodworker James Carroll, along with the freshly cut trunks of ash trees, old-fashioned woodworkers' tools, and mountains of wood shavings. He's the central attraction of "Making 01," a show of Irish handmade crafts presented by homegoods brand Makers & Brothers (comprised of brothers Jonathan and Mark Legge, and makers like Carroll). Carroll will be there in person constructing three-legged stools for about ten hours every day, nestled next to shelves full of the crafts of his homeland, like plush mice crafted from tweed, an Irish textile mainstay; hand-finished linen; and handwoven baskets.

Inside the hotel, "Scale" presents the architect as designer, showcasing the works of hybrid building- and furniture-making acts like Snarkitecture and Studio Dror. It's an exploration of objects as manifestations of the architects' aesthetics, just adaptively resized for practical use in the living room. Equal parts whimsy, brilliance, and absolute uselessness, Patrick Gavin's "Disc & Sculpture" pieces are strewn about the floor like tiny monuments, built for no other purpose than to be in the way. Hernan Diaz-Alonso, an architect of swiftly sloping lines in the tradition of Zaha Hadid, echoes the style of his structures in "Le Chaise Grotesque #2," a sinister loveseat that brings to mind a drop of ink suspended in water. Our personal favorite: Jonah Takagi’s "Range Life," a coffee table throwback to the modernist age. Its mixed use of glass, metal, concrete, wood, and poignant accents of color would make the Eames's Case Study house proud.

The aptly-named and appropriately-situated "Hotel California" offers as a tour of young West Coast designers on the sunny second-floor deck, where Taidgh O'Neill's 101 Chandelier evokes a linear pencil sketch made with wood beams. Matt Gagnon's Knit Fort — an expandable, tulip-shaped structure of interlocking wood — sits in the corner looking at home near the hedges, as it clearly belongs in a backyard. "It's an object but also a space, with no real practical use," Gagnon modestly told us, although he proposed a few great impractical ones — living room cabana or outdoor shower, just to name a few.

Back downstairs, "Sonos Listening Library" looks at sound in a novel, conceptual manner: as an integral component in the design of a room. A Soundelier, the collaborative effort of Lindsey Adelman's light fixture-crafting prowess and Kiel Mead's quirk, hangs a handful of Sonos Play 3 speakers from the ceiling. Also in the library is the Panther, a sofa much less intimidating then its name suggests, crafted from plywood and soundproof foam. Each purposefully emits or absorbs sound to round out the overall construction of the space.

As thought-provoking and conceptual as all the exhibitions appear, watching various hotel guests perusing the objects while their children played in the wooden detritus of Carroll's stool-making made the designs feel so welcoming, so inclusive. It’s the kind of event that stimulates an interest in the general populace for contemporary design, while simultaneously raising the bar for groundbreaking invention. The current concentration of innovative objects within a few-block radius just north of Houston Street fosters a spirit of optimism that we hope, in coming years, will spread throughout the city's Design Week offerings, rather than remain contained in one tiny little district.

To see furnishings from the NoHo Design District's hub at the Standard Hotel East Village, click the slide show.

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by Janelle Zara,Architecture & Design, Design,Architecture & Design, Design

As Facebook Goes Public, the Fashion Industry Looks Forward to New Ways Of Working With the Social Network

ccohen — Fri, 18 May 2012 20:51:07 +0000

As Facebook Goes Public, the Fashion Industry Looks Forward to New Ways Of Working With the Social Network

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by Nate Freeman

Published: May 18, 2012

This morning, in Menlo Park, Calif., Mark Zuckerberg stepped up to a platform surrounded by other Facebook employees, picked up the bell that had been placed at the podium, and rang it. With that, shares of Facebook began trading on the Nasdaq market. It was the third-largest offering in the history of the United States.

And what did Zuckerberg wear on this historic occasion? A hoodie sweatshirt, like he does every day.

He might not have the most advanced taste in style, but the CEO of the world’s largest social network may have to start paying more attention to the fashion industry. The public offering — and increased cash flow — will usher in a time when Facebook will become more and more profitable each year, attracting new and innovative ways for all industries to capitalize on collaborations with the company.

WWD takes a long look at how the fashion industry will be further immersing itself in the business of Facebook. Advertising will still be key, though some experts from the industry believe in a precise blend of different avenues: shopping apps, buzz-building methods of ginning up the “likes” that can make a brand go viral, and the communities that come together at fan pages.

The offering could also spur on Facebook’s in-house development in a way that would build on the fashion industry’s presence on the social network. Facebook could add to its open-graph platforms, which would allow activity on other sites — such as, say, buying new Corgi socks on jcrew.com — to appear on your timeline. The socks are obviously awesome, so your friend sees them on Facebook, and clicks “purchase.” Now there’s more money in Mickey Drexler’s pocket.

But what Facebook does not appear to be doing is targeting the fashion industry specifically, even as some similar Internet companies have begun to reach out to the runway in a big way. Amazon has made a serious effort to attract the houses of high fashion, even co-sponsoring the Costume Institute Gala and having its CEO, Jeff Bezos, co-chair the ball in a Tom Ford tuxedo. On a smaller, but still relevant, level, Tumblr hired style writer Valentine Uhovski to be the company’s Fashion Evangelist. Yes, his official title at Tumblr is Fashion Evangelist.

“Tumblr ultimately is filled with the most creative people in the world,” Uhovski told Fashionista after he was hired in April. “It’s the most visual, most addictive, and most immediate forum for fashion. And a blogger from Croatia is just as important as Prabal on Tumblr.”

And while any brand would love to have a look from its new collection get 10,000 notes on Tumblr, the real money is in Facebook and its 900 million users. With increasing profit and cash flow, it’s possible Facebook will expand its official ties with high-end lines and offer a more comprehensive way to show and share your best finds with your friends.

If that ever happens, maybe someone can help Mark Zuckerberg buy a nicer sweater.

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Style & Society, Fashion, Nate Freeman

Slideshow: See highlights from the NoHo Design District at the Standard Hotel East Village

mschmidt — Fri, 18 May 2012 20:25:28 +0000

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Slideshow: Images from "Bellini, Titian, and Lotto" at the Metropolitan Museum of Art

ccohen — Fri, 18 May 2012 19:58:28 +0000

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Clip Art: Inventive Videos From Nicki Minaj, Death Grips, Mykki Blanco, and More

Nick Catucci — Fri, 18 May 2012 19:52:06 +0000

Clip Art: Inventive Videos From Nicki Minaj, Death Grips, Mykki Blanco, and More

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Photo Gallery:

Clip Art: Inventive Videos From Nicki Minaj, Death Grips, Mykki Blanco, and More

by Nick Catucci

Published: May 18, 2012

In Clip Art, ARTINFO video editor Tom Chen, photo editor Micah Schmidt, and performing arts editor Nick Catucci choose five of the most visually engaging music videos from the previous week or so, and present highlights from each in a video supercut, plus a slideshow of stills. Today ...

Nicki Minaj dramatizes a love triangle with Nas and Chris Brown in the hyperreal “Right By My Side.”

“Join My Militia” finds Mykki Blanco writhing and rhyming like no one is looking.

For “Hustle Bones,” Death Grips threw all their contraband in the drier.

“Sinful Nature” by Bear in Heaven makes a slow-moving ‘80s tornado.

Kindness find common ground in “House.”

Previously: Canyons, London, SpaceGhostPurrp, Grimes, and Danny Brown

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Performing Arts, Music, Clip Art, Nicki Minaj, Nas, Chris Brown, Mykki Blanco, Death Grips, Bear in Heaven, Kindness, Music Video, vidéo

"Art Isn’t Something That’s External": Jeff Koons on His Whitney Retrospective, the High Line Train, and Emptiness

abinlot — Fri, 18 May 2012 19:34:49 +0000

"Art Isn’t Something That’s External": Jeff Koons on His Whitney Retrospective, the High Line Train, and Emptiness

Language English

by Ann Binlot

Published: May 18, 2012

Whether it’s the mission to bring his $25 million dollar “Train” to the High Line or calling his own artwork “empty,” artist Jeff Koons never ceases to be an art-world enigma. His appropriated sculptures, from “Michael Jackson and Bubbles” porcelain pieces to the enormous “Balloon Flower (Magenta),” incite both staunch criticism and astronomical auction records. The artist also experienced heartbreaking tragedy when his ex-wife and former muse Ilona Staller kidnapped their son Ludwig in 1994. This year, Koons has four solo exhibitions planned around the world: one in Basel, two in Frankfurt, and one in St. Petersburg, Fla. ARTINFO caught up with Koons at the Whitney Museum of Art during the Wall Street Journal’s Donor of the Day Celebration to ask him what to expect for the last show at the Whitney’s Breuer building, how the High Line “Train” efforts are going, and why he calls his art “empty.”

What did you mean when you called the art at your Fondation Beyeler retrospective “empty”?

What I was speaking about is that artwork, objects, they’re transpondent. You try to pack them with information, that when somebody looks at them, they’re able to have an internal discourse, and when I say that these objects are kind of empty, what I meant is the art’s not there. The art happens inside the viewer, and these objects direct, and communicate to people, and try to manipulate how they feel about a situation, or the type of sensations that they can have. Art happens inside them. Art isn’t something that’s external. It’s always inside the person.

How does it feel to be the last artist to show at the Whitney’s Madison Avenue space, and the only artist to take over the majority of the museum?

I’m really thrilled because I enjoy the place that the Whitney has had in my own life as an artist – of being an open door kind of place to young artists coming to New York. They always have the opportunity at the Biennials for artists. You always felt as though there was a sense of inclusion, but the exhibitions that they’ve had over the years have been really informative to a young generation of what’s possible in the dialogue of art, and so I’m really thrilled to have my New York exhibition here.

Can we expect any new works from you?

Absolutely. I’ll be showing the newest things up to that moment that I’m working on. I’ll be showing the antiquity series that I’m working on now. I’m just going to try to give an overview of my work from when I first moved to New York, which was around the very beginning of ’77 up to the present day, so by the time of the exhibition, it will be close to four decades.

Any updates on the High Line “Train”?

I’m really thrilled at the possibility, because it’s only a possibility that the train could come to the High Line, but if it would become a reality, I think it would be wonderful. It’s a piece I designed to function as a rallying point for a community that people would gather around it and be able to experience something which is moving and demonstrates the power and intensity of life experience and at the same time inform us of the warmth of our community.

Are there any fundraising efforts going on?

I’m sure the High Line would be involved with that. I’m sure that they would love to find donors to be involved with it, but if it can be a possibility here in New York in my hometown, that would be great.

With your current Fondation Beyeler retrospective and the announcement of your traveling 2014 retrospective, it feels like the year of the Jeff Koons retrospective. Where do you feel like you’re at in your career?

Being able to have the opportunities to have my work be engaged in different communities — right now this year, the work is going to be shown in Switzerland in Basel, in two exhibitions in Frankfurt, and later this year in St. Petersburg, Florida. It’s always exciting to be able to have a dialogue with the community. Also, as an artist, you always are able to view your work and see it in a different light.

Last year’s Costume Institute exhibition, “Alexander McQueen: Savage Beauty,” surpassed your 2008 sculpture show to become the eighth most-visited exhibition in the history of the Met. Do you feel threatened that this year’s show, “Schiaparelli & Prada: Imaginary Conversations,” might do the same?

I really have no idea, but I know that I enjoy so much having an exhibition at the Metropolitan, because it’s such an incredible museum, and to be able to have contemporary art and the audience for contemporary and also pull people in to look at the classical works, or to look at Baroque paintings or the Old Masters, it’s fantastic. And the same with people who go to see an Old Masters painting, to end up wandering to see another exhibition. I think Miuccia’s exhibition with Schiaparelli is fantastic. It’s an incredible installation, it’s really interesting and engaging, and it has the energy of the avant-garde of the 20th century. It has that whole feeling of “We can change reality.” And Alexander McQueen’s show was great too, but I’m very happy to be a part of the history of the Met too.

You’ve been very active with the International Centre for Missing & Exploited Children and National Center for Missing & Exploited Children since your son’s abduction. Have you met parents who have gone through similar ordeals who have been able to get their children back?

Through the National Center and International Center, I’ve met a lot of different parents, and some parents have had success. These stories touch everyone, and they touch a lot of families where we’ve all known somebody and maybe there was a parental abduction or we know from just reading the papers, abduction of children in our communities, so this always touches everyone. We were hearing the numbers today … the return of 167,000 children is an amazing accomplishment.

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Contemporary Arts, AI Interview, Ann Binlot

Clip Art: Inventive Videos From Nicki Minaj, Death Grips, Mykki Blanco, and More

mschmidt — Fri, 18 May 2012 19:14:13 +0000

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Artinfo

A Brazilian in Paris: Bruno Dunley on His French Solo Debut and the State of Painting in Sao Paulo

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Week in Review: Highlights From ART HK and New York Design Week, John Mellencamp on How Life Is, and More

ART

DESIGN & FASHION

PERFORMING ARTS

VIDEO

Like what you see?

Judge Strikes Down California Resale Royalties Law, Foiling Chuck Close and Laddie John Dill

Like what you see?

Soundeliers, Snarkitecture, and Irish Stool-Makers: The Democratic Offerings of the NoHo Design District

Like what you see?

As Facebook Goes Public, the Fashion Industry Looks Forward to New Ways Of Working With the Social Network

Like what you see?

Slideshow: See highlights from the NoHo Design District at the Standard Hotel East Village

Slideshow: Images from "Bellini, Titian, and Lotto" at the Metropolitan Museum of Art

Clip Art: Inventive Videos From Nicki Minaj, Death Grips, Mykki Blanco, and More

Like what you see?

"Art Isn’t Something That’s External": Jeff Koons on His Whitney Retrospective, the High Line Train, and Emptiness

Like what you see?

Clip Art: Inventive Videos From Nicki Minaj, Death Grips, Mykki Blanco, and More