Carole Feuerman’s Realistic Artwork on Display at One Exchange Plaza

A realistic sculpture of a female swimmer created by artist Carole Feuerman.

A sculpture by world renowned artist Carole Feuerman.
Photo credit: lev radin / Shutterstock

The lobby inside the One Exchange Plaza on Broadway is one of New York City’s newest art spaces. Currently on display is Carole Feuerman’s hyperrealistic sculptures. They bring a strange, soft humanity to the gallery. The display is titled PERCEPTION | In the Eye of the Beholder.

Feuerman’s sculptures are breathtaking to see. Most of her sculptures are from her “swimmers” collection, which are life-size sculptures and paintings of women in their bathing suits. Each one is so realistic that they depict even the tiniest of details such as water droplets on the skin and wet eyelashes. Some sculptures even show side-boob and skin folds. If the artist were to sneak a live model among the set, it would be difficult to tell which she was.

Each sculpture is juxtaposed against the cartoonish shape of inflatable pool toys. The pool toys even have plastic gloss, making them appear even more lifelike. It is with good reason that Feuerman is called “the reigning doyenne of super-realism” by those in the field. In the ’70s, she was one of three leaders in a movement towards photo-real sculptures.

Also featured are her paintings and prints. Many of these serve as the inspiration behind her large sculptures. Just like her sculptures, she paints with the finest of detail.

PERCEPTION was made possible for One Exchange Plaza by Chashama, a nonprofit foundation that collaborates with property owners to make business spaces into art galleries. Chashama currently manages over 120 artist studios, six galleries, five curated office lobbies, two performance halls, and provides affordable housing to artists in need.

Due to its popularity, PERCEPTION has been extended until April 23rd. The closing reception is still set for April 17th, which was originally intended to be the final day.

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Eerie Sci-Fi Sculptures Coming to Manhattan’s City Hall Park

A picture of City Hall Park.

City Hall Park in Manhattan.
Photo credit: Shutterstock

Katja Novitskova is an Estonian artist whose art has shown in a dozen countries since her first solo show in Berlin in the mid-2000s. Only 33, she’s young to be given a massive stage like City Hall Park in Lower Manhattan, but her art is world-scale and deserves the platform.

In the grassy, arboreal park, the exhibition will set man-sized images of Earth’s stranger creatures on planet-like plates of dyed and sculpted aluminum alongside the footpaths, each work between six and eight feet across. Squid, hydras, round worms and the like, digitally embossed on the plates, will feature in the show, which is called “Earth Potential.”

Novitskova, who is primarily a digital artist, wants to demonstrate the relationship between today’s culture of omnipresent digital imagery and the environment, specifically how the technology available in all of our pockets has affected the ways we look at the natural world.

The subtext under the images is that all of the animals that Novitskova has chosen to feature are creatures being studied for biotech research. The brains of roundworms have been digitized for research reasons, for example. Squids are studied for their brains, geckos for their legs and their unusual skin. Hydra may hold the secrets to self-replicating nanotech.

“Earth Potential” is being brought to the park this summer, from June 22 to November 9, by New York City’s Public Art Fund, under the curatorship of Emma Enderby.

“From the micro to the macro, Novitskova brings to life a world that was once invisible but now, due to advances in satellite cameras and electronic microscopes, can be pictured in great detail,” Enderby had to say in a public statement. “These images are also of living forms that are used in the scientific community to synthetically change the future of our planet. With this, Novitskova invites the viewer to reflect on the ways in which we see our world and how we perceive the potential of the Earth.”

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Last Chance to See the Ray Hamilton Exhibit

A clock that is minutes away from reaching 12:00. The words "closing soon" are written on the clock.

Photo credit: Shutterstock

Currently at the Kerry Schuss Gallery is a very special exhibition. Many retrospectives cover decades, but this one is only six years long. It is a sensitive, sweet coverage of the artist’s recovery from a serious stroke in 1990, and the work he created from that point up until his death in 1996.

A navy veteran from South Carolina, Hamilton was taking art classes through a nonprofit called Healing Arts Initiative (or H.A.I) as he relearned his body. With pens, pencils, and paint on large sheets of cheap paper, he traced objects of his life over and over. You can see how he struggled to keep a pen steady, or where he practiced writing his own name in huge, wandering letters.

There’s nothing childlike in his art, despite the deceptively remedial subject choices. When he draws his hands and paints them clumsily in blue with red blogs for nails, the right hand is twisted, just like his. When he draws shoes or feet, they are always staggered slightly, like those of a man who walks with effort. Windows are high on the page, as they would be seen by someone who spent more time in a chair than standing. A single clock, drawn with particular care, seems to be full of tense waiting. A knotted fist and a cane, both colored in with furious blue hatching in ball-point pen, are surrounded by seemingly manic lists of numbers. Costs? Days? There’s no knowing.

The only writings we have by Ray Hamilton are the things in the background of his artworks—lists and places and the occasional far-off date. Mostly his own name, scrawled or printed in a painstakingly stylized print or somewhere in-between, unmistakably the marks of a man trying to affirm for himself that he is who he always has been: Ray Hamilton.

Ray Hamilton: Drawings began in January and will continue through March 12th. Kerry Schuss Gallery is located at 34 Orchard Street, Manhattan. See it before it’s gone.

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Todd Webb’s ‘A City Seen’ Coming to Museum of the City of New York

A photo of the New York City skyline.

Photo credit: ThinAir / Shutterstock

Todd Webb (1905–2000) arrived in New York in 1946, armed with a camera and the training of a Navy photographer. By then, he’d already worked with other photography greats like Ansel Adams and Harry Callahan. But Webb ultimately made a name for himself with the images he took of the American military in the South Pacific Theater.

In New York, what he saw and fell in love with was the everyday life of the people who surrounded him. His first major show, I See a City, happened in that year with the aid of Beaumont NewHall and Grace Mayer in the Museum of the City of New York.

His photography of New York was that of a man exploring at street level. Walking, finding beauty in anything he sees. He loved the small, crowded shops of Third Avenue. The elevated trains, the street markets and food vendors and the busy ant-like life of the sidewalk commuter.

On April 20th, over 70 years after that first exhibition, the Museum of the City of New York will once again host Webb’s vision. His second solo exhibition in the same halls, A City Seen: Todd Webb’s Postwar New York, 1945-1960 will be a retrospective of more than 100 prints from that 15 years of the photographer’s wanderings, highlighted by excerpts of writings both by Webb and his artistic contemporaries.

Alongside his original prints, made using large format film and a tripod for which he became known, there will be new prints made by artist John Hill using negatives from the era; most by Walker Evans, but some by Webb as well.

Concurrently to this exhibition, The Curator Gallery in Chelsea will be hosting Down Any Street, another collection of Webb’s photographs from the same time period.

A City Seen begins April 20th and will go until September 4th of this year. The museum operates on a “suggested admission” system, which is $18 for adults, $12 for students and seniors, and free for ages 19 and under.

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A Review of “Raymond Pettibon: A Pen of All Work”

An illustration by Raymond Pettibon of a naked woman carrying a bloody ax.

Artwork by Raymond Pettibon.
Image courtesy of jlggb at Flickr Creative Commons.

Holland Cotter of the New York Times describes Raymond Pettibon’s art as having a “prickly, manic feel.” He also calls it “a steady indictment of American culture… over the past 60 years.” Anyone who visits the “Raymond Pettbon: A Pen of All Work” exhibit at the New Museum in Manhattan may very well agree with him.

The collection is as much a through-a-lens view on American history as it is an artist’s retrospective. In pen, ink, and paint, hundreds of portraits and comics spread across three floors of the New Museum, most illuminated by the artist’s pointed titles, comments, and captions. There is a collection of historical monsters: Hitler, Stalin, Lenin. There are also sketched summaries of the Vietnam War, of Korea, of Iraq.

Going farther back along the path of retrospective, viewers can see the birth of themes that Pettibon would track for his whole career. In grade school, back when Raymond Pettibon was Raymond Ginn, he drew surfers and soldiers, landscapes and Olympic athletes.

Recently, while in his 50s, he annotated those early sketchings. One, particularly poignant, was done in crayon: a picture of Nazi fighter planes. Now it sports a Proust quote that elevates the idea of a child drawing war machines and dreaming of his own battles:

“They are innocent enough as long as they are regarded as mere toys.”

It is a phrase that could be applied to much more of his artwork. Much of it can be interpreted as silly and aimless, unless one steps closer to read his spidery penciled comments.

Today, Pettibon continues to make pithy comments and observations about the world on his Twitter feed, though he produces art as he always has. This likely won’t be his final retrospective.

“Raymond Pettibon: A Pen of All Work” will run at the New Museum through April 9, 2017. Information can be found at or by calling (212) 219-1222.

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High Line Plinth Sculpture to Be Announced Soon

A picture of buildings taken at High Line Park.

A photo taken from High Line Park in New York, NY.
Photo credit: Shutterstock

For anyone watching, the transformation of the High Line into a series of parks, wild spaces, and art spaces has been a lovely one. One of the final pieces is now on the horizon: the High Line Plinth.

London has had a plinth for decades, Fourth Plinth, where a bare pedestal was supposed to support a statue of William IV, but instead has hosted a long series of contemporary and temporary installations of sculpture or, occasionally, performance.

The High Line Plinth, expected to be completed in 2018, will be set in the triangular plaza above 30th Street and 10th Avenue, where a spur provides enough space for assembly and larger sculptures.

The Plinth will be overlooked by the new skyscrapers of the Hudson Yards office complex, and tall enough that work standing on it will be visible from the street below.

Early calls for art work were put out last year, quietly, and nearly 60 artists submitted ideas. By this spring, an advisory committee of artists and curators will narrow that list down to a dozen, then to two.

Ideas for the first sculpture to occupy the plinth include Sam Durant’s stylized drone, Baba Yaga’s hut on stilts by Haim Steinbach, and a massive bust of a black woman with cowrie shells for hair by sculptor Simone Leigh. The inaugral choice of sculpture will be on display on the plinth for eighteen months before a new work is chosen. The plinth is planned to change size and shape as needed.

The advisory committee currently responsible for narrowing down the choices consists of Helen Molesworth, chief curator of the Museum of Contemporary Art in LA and Franklin Sirmans, who directs the Perez Art Museum in Miami among others. There has been some criticism that the choices made for the High Line should be made by New York City natives, but it is two High Line officials who will make the final decisions.

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The Met Just Made 375,000 Images Available for Public Use

A photo of the Metropolitan Museum of Art.

The Metropolitan Museum of Art located in New York, NY.
Photo courtesy of Steven Pisano at Flickr Creative Commons.

The collections of the Metropolitan Museum of Art are so much more than what is hung on its walls. Literally hundreds of thousands of artworks stock their archives, more than they could ever show, even if they rotated their displays daily.

“Our comprehensive and diverse museum collection spans 5,000 years of world culture,” said Met director Thomas P. Campbell in an announcement on Wednesday, February 8th. “Our core mission is to be open and accessible for all who wish to study and enjoy the works of art in our care. Increasing access to the museum’s collection and scholarship serves the interests and needs of our 21st-century audiences by offering new resources for creativity, knowledge, and ideas.”

To those ends, more than three hundred thousand works in that vast collection will be made available to the public in digital form. To be more specific, 375,000 high resolution scans and videos will be made available for free via the museum’s website and Interested viewers from all over the world can take a closer look at these artifacts from their phones and computers.

To be able to host and provide these images, the Met took on a number of partners, including non-profit Creative Commons, online archive Wikimedia, and social-media site Pinterest, which does indeed seem the natural assistant to a public archival project of this magnitude.

Perhaps as noticeable as the scale of the project is the light-handed attitude of it. Loic Tallon, the Chief Digital Officer of the Metropolitan Museum of Art, says that the images are there to be used however the public wants to use them, without limit. That is a first in the oft-tense relationship between the Internet and museums.

Museums have historically clung to what little intellectual property rights they can claim, which mostly involve photographs of their collections. But this is prescisely what the Met has just made available to all.

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