On October 3 a performance entitled “Bow”, organized by artist Eric Clinton Anderson, will make plain the deification of financial institutions by bringing worship to the streets of lower Manhattan.
Early that morning, as the men of Goldman Sachs are arriving at their offices at 200 West Street, a call will ring out. Performers dispersed throughout the commuter crowds will line the sidewalk in front of the tower. As the day’s financial news is read over a loudspeaker in the manner of the Adhan (the Islamic call to prayer), the performers will bow to these exalted men as they enter their hallowed headquarters, carrying on their sacred work.
To become involved email bow(at)ericclintonanderson.com
On Friday, September 30, the Education department at The Frick is sponsoring a college night for undergraduate and graduate students during which the staff of the Reference Library will speak to students. The event is free with a valid school ID, but reservations are required. To RSVP, please e-mail firstname.lastname@example.org.
The Brooklyn Museum presents Eva Hesse Spectres 1960, a “group of nineteen oil paintings created when Hesse was just twenty-four years old.”
Matthew Barney’s show at Gladstone features “his first major works produced from traditional sculptural and industrial metals such as iron, bronze, lead and copper.”
John Chamberlain’s show at Steven Kasher consists of “nine monumental photoworks, comprised of multiple eight-foot-high stretched canvas panels, each panel hosting a highly-processed and colorized panoramic photograph by the artist.”
Yutaka Sone’s show at David Zwirner features Little Manhattan, a three-foot-tall, nine-foot-long relief of the city carved out of pure white marble.
Erik Benson’s show at Edward Tyler Nahem “equally dazzles with light, understated humor and the need for inner and outer reassessment.”
In her “dazzle paintings” at Galerie Lelong, Jane Hammond “infuses the still image with a sense of flow, interactivity, and mutability.”
Susan Rothenberg’s show at Sperone Westwater “continues to challenge and extend painterly conventions with her spatial and distorted compositions.”
Gabriel Orozco’s show at Marian Goodman consists of two new bodies of work realized over the past four years.