Let 2020 be a happy & healthy year; let us all remember to slow down, breathe, love ourselves, love the planet, love one another. We’ve only got one chance!
January 1st, 2020
I see a pattern forming here, may be I should establish a Fabulist tradition.
Ho Ho Ho Hope you have a fun New Year’s Eve…!
❤️ from the Hell’s Kitchen Towers, where we’re laying low until the NYE Madness of Times Square recedes and Everyday Madness of Times Square is restored.
December 31st, 2019
In celebration of the album’s 10th anniversary, Sigur Rós vocalist Jónsi and his partner, musician Alex Somers performed Riceboy Sleeps, live for the first time, together with the Wordless Music Orchestra and Choir, in some of the most beautiful theatres across North America. Last night they were in Kings Theatre, Brooklyn. It was their final stop. And the best possible way to celebrate Halloween.
Below, a part of their live performance in Sydney. If the Northern Lights were emitting music, this would have been it!
October 31st, 2019
Immersing into one of Oneohtrix Point Never’s site-specific concertscapes. This one was his most ambitious yet, imagined from the perspective of an alien intelligence and was presented in Park Avenue Armory.
May 24th, 2018
Best known for his luscious paintings of pies and ice-cream cones, California artist Wayne Thiebaud (born 1920) has been an avid and prolific draftsman since he began his career as an illustrator and cartoonist. Featuring subjects that range from deli counters and isolated figures to dramatic views of San Francisco’s plunging streets, Thiebaud’s drawings invariably endow the most banal, everyday scenes with a sense of poetry and nostalgia. The show was the first to explore the full range of the artist’s works on paper, from quick sketches to pastels, watercolors, and charcoal drawings. It run @The_Morgan through September 2018.
May 20th, 201818
The great works of art, rare printed books, manuscripts and paintings by Italian and Netherlandish masters that adorn Mr. Morgan’s opulent library, are not exactly hidden but scroll further down to discover some really rare gems – usually hidden from view – that were on show at the lower level. Thomas Gainsborough
Portrait of Caroline, 4th Duchess of Marlborough, ca. 1770
Inspired thirteen different English translations, printed in more than a hundred editions. This is the first edition in English, a legendary rarity. Why it is so rare, is hard to tell; perhaps the first copies were loved to death or the printing was curtailed by a miscalculation of the publisher. Only one other copy is recorded in an American library. The Morgan also has Heidi in French and German first editions, both in bindings with the same pictorial designs as these volumes.
To mark the seventy-fifth anniversary of the publication of Antoine de Saint-Exupéry’s classic story “The Little Prince”, the Morgan presents five newly discovered drawings by the author as well as intimate memorabilia from his time in New York during the 1940s. The items belonged to the American artist Joseph Cornell (1903–1972), who met Saint-Exupéry at the very moment the French author-aviator was drafting what would become one of the world’s favorite books. Cornell kept a dossier of papers and fragments that served as echoes of their encounters—everything from a marked-up cocktail napkin to an unpublished sketch of the little prince perched at the edge of a rose-covered cliff. Cornell’s Saint-Exupéry dossier was acquired by the Morgan in 2014 and is now shown in its entirety, for the first time, in the Morgan’s lower level lobby gallery.
May 20th, 2018
The life and art of Peter Hujar (1934–1987) were rooted in downtown New York. Private by nature, combative in manner, well-read, and widely connected, Hujar inhabited a world of avant-garde dance, music, art, and drag performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising in 1969 and the AIDS crisis of the 1980s.
In his loft studio in the East Village, Hujar focused on those who followed their creative instincts and shunned mainstream success. He made, in his words, “uncomplicated, direct photographs of complicated and difficult subjects,” immortalizing moments, individuals, and subcultures passing at the speed of life.
Peter Hujar: Speed of Life was on view at the Morgan Library through May 20, 2018.
For a 1966-67 workshop led by Richard Avedon and art director Marvin Israel, Hujar turned in an uncharacteristic series of nude, running self-portraits made with a flash unit in the studio of his employer. In a conscious echo of Avedon’s manner, the images emphasize action, vivid gesture and empty space- sensational effects calculated to hold a magazine page. Over the next couple of years, during Hujar’s brief pursuit of a career in fashion, the two photographers had frequent late-night phonecalls. Avedon wrote to him in 1979, ”if you ever have new work that you’re interested in selling, please call me as I am your collector.”
In September 1973, transgender Warhol Superstar Candy Darling (born James Lawrence Slattery) was hospitalized for lymphoma. She asked Hujar to make a portrait of her ”as a farewell to my fans.” Out of several dozen exposures, Hujar chose to print this languorous pose. As rendered in the print, Candy’s banal, fluorescent-lit hospital room looks as elegant as the studio props in a Hollywood starlet’s portrait. Hujar later wrote that his style cues came from Candy, who was ”playing every death scene from every movie.”
The image, first seen in print in the New York Post after Candy’s death six months later, became the most widely reproduced of Hujar’s works during his lifetime.
Hujar photographed his mother and her second husband, Ed ”Snookie” Murphy, on a rare occasion when they visited his loft. Obliged at age eleven to move into their one-bedroom apartment on E 32nd St., Hujar had moved out at sixteen. In adulthood, he maintained a protective distance, consistently referring to Rose Murphy by her full, unrelated-sounding name. Rose Murphy never reconciled herself to her son’s homosexuality, nor did he forgive her rejection.
When invited to a friend’s for dinner, Hujar often gave his host a recent photograph printed at a modest scale. No other print of this image is known.
May 20th, 2018
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