Spencer Finch, The River That Flows Both Ways, rendering, 2007
Brooklyn-based artist Spencer Finch is a man in search of lost time. Take, for example, his installation West (Sunset in My Motel Room, Monument Valley, January 26, 2007, 5:36-6:06 PM): 9 TVs face a wall, playing films whose composite, haloed reflection reproduces the colors of a sixty-minute sunset viewed from Finch’s hotel room in Monument Valley. Or there’s 2 hours, 2 minutes, 2 seconds (Wind at Walden Pond, March 12, 2007), in which 44 fans recreate the gusts and ebbs of wind over at the eponymous pond on March 12 of the same year. Read More »
Unless you are living under a rock with no Wi-Fi, you may have heard about the long awaited opening of the Chelsea High Line, an elevated park refurbished from an abandoned rail trestle snaking up the lower West Side of Manhattan. Winding from an entrance on Gansevoort and Washington Streets, under the new Standard hotel, over Tenth Avenue, and past some of Chelsea’s most creative architecture, the High Line is a public space worth its weight in hype. Read More »
When I met with Nato Thompson last week to discuss Jeremy Deller’s new project, It Is What It Is, I had one question: is it art? Apparently, I was not the only one. Before I started the interview, Thompson, who co-curated the show on behalf of Creative Time, admitted that the question had followed him since the inception and that he didn’t think it was particularly relevant or compelling. Had my experience at the show been different, I would have rolled my eyes and asked him why it was in an art museum. But after checking out the exhibit, I was conflicted enough to listen to his explanation.
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