Word: guggenheimers
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...cluster of new ones bravely poked their heads above ground. The most promising was Hudson Review, edited by three young Princeton alumni." Well, ahem, we know how to call it. THE HUDSON REVIEW puts out its 60th-anniversary edition this month, celebrating its longevity with a concert at the Guggenheim Museum and a book, Writes of Passage. The Review, which promised at its inception not to "open its pages to those whose only merits lie in their anguish, their fervor, and their experimentation," is not the biggest nor the most prestigious of the literary-periodical set, but it has nurtured...
There's certainly a feeling of midcareer big bang in "Cai Guo-Qiang: I Want to Believe," the clamorous retrospective that opened recently at the Guggenheim Museum in New York City. In the 13 years since he relocated to New York, Cai has moved on to many other kinds of art, including dreamlike sculptures and big theatrical installations like Head On--dozens of papier-mâché wolves galloping headlong into a glass wall. In the same period, he's also become a star on the global-exhibition circuit, a position the Guggenheim show certifies. The show also draws...
...originally crafted in Shanghai in 1965 as pure Maoist agitprop, a tableau of peasants being abused by a greedy landlord and his thugs. In 1999 Cai had a team of artisans reproduce the ensemble for the Venice Biennale. Set in a new context, as they are again at the Guggenheim, the figures took on a new meaning. They became artifacts of a bygone communist order and the lost power of its coercive spectacles...
...record show that contemporary art has coercive spectacles of its own. One of them is Cai's Inopportune: Stage One--a car-bombing presented as a Chinese-scroll sequence of tumbling white automobiles, blinking light rods bursting from them like fireworks--suspended down the length of the Guggenheim's vast rotunda. Cai sees it as a "contradictory presentation--very strong physical violence presented in terms of physical beauty." And there's no denying that the piece brings its share of wow factor to the rotunda. But it's also an instance of an artist playing air guitar with history--making...
Juilliard Graduate, Sax player, two-time Guggenheim Fellowship recipient and composer--Teo Macero was all of the above and famous for none of it. But in the early 1960s, after taking a job at Columbia Records, he became one of the era's most celebrated producers. Best known for his long, occasionally combative collaboration with Miles Davis--whom Macero likened to a spouse--Macero had unusual latitude to cut and shape Davis' improvisations, often co-creating pieces. Among the albums he oversaw: Davis' Bitches Brew, In a Silent Way and the monumentally influential Kind of Blue, as well as such...