Artist Scherezade García’s large-scale community altar at Green-Wood Cemetery’s Historic Chapel for Día de los Muertos. Visitors were encouraged to bring personal offerings to a community altar, including flowers, photographs, and notes, among other objects.
Info from the artist’s Instagram–
Inspired by altars found throughout Mexico and the Mexican diaspora, Garcia’s altar combines her own unique style with this centuries-old celebration of the departed.
The centerpiece of the altar is a weeping, cinnamon-colored Statue of Liberty. By mixing all the colors in her palette, Garcia achieves a brown hue that embodies the ideals of diversity and inclusiveness. Her rendition of the Statue of Liberty, an iconic symbol of New York City, evokes the multitudes of immigrants that have found home here, including large Latin and Caribbean American communities. Garcia has dedicated the altar to all the New Yorkers who fell victim to the coronavirus.
For more of artist Lyndsay Rae’s (@msellerae) work, check out her Instagram
The video installation is based on Musidora, the French silent film actress, and the character she is best known for Irma Vep from the 1915 film Les Vampires directed by Louis Feuillade.
From the exhibition’s caption-
It’s a piece about living in the shadows, criminal anxiety, and the relationship between the artist and her creation, both fictional and real.
Irma Vep and Musidora are played by Zackary Drucker (Transparent) and the late Flawless Sabrina (The Queen), two artists whose identities transgress the border of art and life. Together, they developed a relationship that documents a cultural evolution of gender.
Musidora was an early 20th century feminist who took control of her career, not only acting, but also producing/directing films and theater. She was an artistic force of her time, producing several works by her lover Colette and having many documented affairs with both men and women. After financing dried up for her projects, she lived in relative obscurity until her death in Paris, 1957. In her later years, she worked the ticket booth of the Cinematheque Francaise, where few people ever knew that the woman selling them their movie tickets was France’s beloved vamp of the silver screen.
Irma Vep, The Last Breath takes up motifs from the silent movie such as gazes, affected body language and the figure of the masked woman. It’s shot on a starkly illuminated set that makes space for anxious projections of desire on the void that is Irma Vep- a space between genders, between vamps of the silent era and the contemporary queer- smashing the shiny veneer to reveal dark, subconscious layers of fluid identity.
The film is part of the larger exhibition Idol Worship, a group show curated by Emily Colucci, at Smack Mellon which “celebrates the ongoing cultural, social and political significance of role model adoration as an essential survival strategy”.
The exhibition closes 12/29/19.
Currently at Brooklyn Museum is Garry Winogrand: Color, the first exhibition dedicated to Winogrand’s color photographs.
From Brooklyn Museum’s website-
While almost exclusively known for his black-and-white images that pioneered a “snapshot aesthetic” in contemporary art, Winogrand produced more than 45,000 color slides between the early 1950s and late 1960s.
Coming from a working-class background in the Bronx and practicing at the time when photographs had little market value, Winogrand did not have the resources to produce costly and time consuming prints of his color slides during his lifetime. Yet, he remained dedicated to the medium for nearly twenty years.
The exhibition presents an enveloping installation of large-scale projections comprising more than 400 rarely or never-before seen color photographs that capture the social and physical landscape of New York City and the United States. On his numerous journeys through Midtown Manhattan and across the country, Winogrand explored the raw visual poetics of public life—on streets and highways, in suburbs, at motels, theaters, fairgrounds, and amusement parks. For him, the industrially manufactured color film, which was used by commercial and amateur photographers, perfectly reproduced the industrially manufactured colors of consumer goods in postwar America. By presenting this group of largely unknown color work, Garry Winogrand: Color sheds new light on the career of this pivotal artist as well as the development of color photography before 1970.
Winogrand’s photos are always captivating, both in his style and subject matter, and now there is the addition of time, which adds nostalgia to their allure.
The exhibition begins with a slide projector showing single slides, most of which aren’t on view in the main room (shown below).
The main room (shown below) has slides rotating on the walls along both sides of the large room with seats in the center for viewing. The pairings often accentuate each others colors, with the smaller slide of each pair staying up longer. It is definitely worth making the time to see them all.
Also included in the exhibition are a room of Winogrand’s black and white photographs and a video of him discussing his work.
This exhibition closes 12/8/19.