Getting to Know the Artist Lorene Bouboushian
The White Lady guts flail gluttonous fail, artist Lorene Bouboushian, photo by Ian Douglas
Since discovering her work through Esther Neff and Brian Mccorkle, who run Panoply Performance Laboratory, I have been a fan of Lorene Bouboushian. Her formal dance aesthetics clash with a harsh staccato pushing of the body in her work, with Bouboushian often choosing to engage with other female bodies to produce unusual twists and sounds. Watching her move through performance spaces in unexpected ways has been a delight. The interview below was prompted by questions I had for this artist after seeing her work entitled, saliva synthesis transformation. It featured Bouboushian, Paige Fredlund, and Elliott Jenetopulos for lighting. Here Boushoushian opens up about where she feels her works fall within a feminist discourse, her Texas and Armenian background, and where humor sits in her work.
AE: Give us a brief overview of your “art bio.”
LB: I went to ballet intensives, Christian dance conventions—whatever I could find in podunk Texas. And then in high school I joined the dance team and I ended up going to a different dance studio, which was much more fun, if still not really technical. On the dance team I was a high kicker, we did dances with big props—mostly during pep rallies and football game halftimes. It was really fun but really weird—because I knew that it wasn’t what I wanted to be doing but it was the closest approximation I could find, and it was also really catty. But I was still dancing in a studio—which was fun for me, and I had a good teacher at that point. During high school I went to the American Dance Festival, where choreographers like Ishmael Houston-Jones, Yvonne Meier, Miguel Gutierrez taught, and it totally turned my world upside down in terms of what I could do physically and experimentally. Then I ended up going to Barnard College where I worked with other experimental artists like Amanda Loulaki, Jeanine Durning, Juliana May, Ivy Baldwin, luciana achugar, Jill Sigman (she totally shifted my understanding of dance as a philosophical viewpoint and embodied practice)…and I ended up making a lot of my own work and being able to plug into the scene in NYC. Then, soon after graduating, I worked with some amazing choreographers, Daria Fain, who opened me up to the integration of voice and movement, Kathy Westwater, who I danced with at a landfill. But I started to get bored of a lot of the other dance I was seeing and I was able to connect with Esther Neff and Brian Mccorkle, who run Panoply Performance Laboratory, through Lindsey Drury, who I danced with, and who was really putting performance art into dance…then, through that, I was really able to shift the whole contour of my work to be able to include a range of actions and ways of being that relate to performance art. Now I really feel like my work and my teaching, both of children and of peer artists, really lies at the intersection of performance and dance. My work and my performance manifest in the opportunities that come. Part of me is more interested in very composed/crafted “dance” work, the other part is more interested in informal and street contexts, complete improvisation and less formal work, more like performance art. I want to perform in venues that range from more to less formal…I have trouble finding a whole lot of other folks who want to do both. I feel like the dance world pushes choreographers toward bigger institutions, and many performance artists have more of a DIY ethic. My interest is to stay in that intersection.
AE: Your dance training is obvious in your work, but what do you feel most informs your practice?
LB: I desire to turn my dance training inside out, to take a lot of somatic practices I’ve studied because of my dance training—mostly through Feldenkrais, Rolfing, Qi Gung, Alexander Technique, Skinner Releasing, Body Mind Centering—and churn out work that deals with more vulnerability, confusion, truly task-based work, and less polished work than what I often see in dance contexts. Most of what I’ve connected to in other human beings in my life, both in rural East Texas and New York, is messier, more grotesque, absurd…and can speak to despair. The way I make sense of facets of human existence is viscerally—through the body. So, I’m trying to take this training and fill it up with things that are often, in the contexts of learning those techniques, left out.
saliva synthesis transformation with Lorene Bouboushian and Paige Fredlund, photo by laura bartczak
AE: Do you consider your work to be feminist in nature?
LB: I’ve been interested for a long time in taking my very much standard white female body and embodying things that my body is not “supposed to” contain. Some of this is in the grotesqueness and absurdity I mentioned, some of it is more about my interest in a range of ways of being human. This came from growing up feeling a lot of self-hatred for my own self and body—it definitely has to do with a reclamation of my body. It also has to do with the feeling I had in early sexual experiences that I was being used, so that I had no agency. So agency and reclamation— feminist terms that emerge when I think about the role of my body in my work. In saliva synthesis transformation, there is violence and sexual history present, not always connected but both often present. Enacting those in a place I consider utopian—meaning anywhere I can perform, even in a dangerous, dystopian world—is important to me. To be able to say “here is my conventional white female body defaced, or monstrous, or playful and childlike even as it is sexual—those things really matter to me because they don’t generally exist in everyday life. In a lot of my solo work, it has to do with “how can I embody the people around me?” even as I’m “just a white girl.” A lot of this has to do with growing up in rural Texas with an Armenian father from Beirut, and having extended family that survived the Armenian genocide. Violence and trauma are part of that history, figure into who my body am (that isn’t a typo), and are essential facets of womanhood. That history pushes me toward being constantly interested in people who are not me. I studied anthropology too—and I am both utilizing and critiquing it on all sides, all the time. How does this body of mine process human beings and bring them to life in a new way—how do other humans live in my body, question each other’s worth, bring up each other’s differences? It’s very problematic, and I’m interested in that. I don’t seek to be explicit about it a lot of the time, though. How is that feminist? I think that if I’m enabling myself, through embodied work, to take hold of life, process and work through it, even though everything the world tells me about my body is reductive—that to me is feminist.
AE: When nude bodies are used in your work do you worry about sensationalism or objectification? Do you feel your work addresses those topics either metaphorically or physically?
LB: I don’t worry about sensationalism. There’s always a concern about people not “getting” your work, especially for me since I deal with a lot of things fairly abstractly. I still think I’m addressing sensationalism though, since nudity is presented through defacement—using our saliva and taking our clothes off in a way that doesn’t make sense and sometimes limits our movement, makes us “uglier,” or disorients us. Utilizing nudity is for us a way of being aware of who we are and how we look onstage, and shifting it. There’s a strong current of oddness, awkwardness and grotesqueness through the piece, so that “yes, we ARE naked white women,” but we are always something else and always transforming into something else.
saliva synthesis transformation Lorene Bouboushian with Paige Fredlund, photo by Laura Bartczak
AE: Collaborative work is part of your practice. How has collaboration improved/expanded your work as an artist? And what would be your dream collaboration—or are you already experiencing it?
LB: I’m definitely experiencing my dream collaboration! Coming out of years of solo work, I’m realizing how much people are the work. Especially when those people, as it often happens in smaller, more close-knit scenes, are some of your best friends.
I collaborate with two people on two different strands of work. One is with Paige Fredlund, which you just saw in saliva synthesis transformation. My other strand of work is with Kaia Gilje, and it’s highly improvisational. Working with Kaia has hugely shifted my understanding of what it is to give someone agency. In the dance world, many choreographers say their work is “created in collaboration with the performers,” but their name is still on it, and they still have creative and administrative control. That’s basically what I’m doing, but Kaia and Paige completely and totally shape the work. A lot of other choreographers would say that, but I think a huge project for me is trying to interrogate these power dynamics of “director” and “collaborator.” In light of that, I’ve tried to find as many ways as possible to mess up my own desires/interests in the studio, and allow things to happen based on the desires and energies each of us is bringing into the room that day…trying to allow the piece to emerge from “who we are” versus “what I want this thing to be.” With Kaia, often we don’t even say anything when we enter the studio, and I just follow her. With Paige, when we began work on saliva synthesis transformation, there was a set of clear interests (pre-war gospel music field recordings, vocalizing with certain visualizations of the body, talking about family/relationship histories). Yet, I think her responses to a lot of those prompts totally blew me out of the water. Over the last year and a half, I’ve had to figure out where to take those responses. We often have exited our process for a few months, then reentered with new perspectives. My most fruitful discoveries have occurred when I’m really listening to Kaia and Paige’s responses, letting those responses simmer before I try to figure out what’s next. It helps me to understand what I’m asking for, how I’m communicating it, and more than anything, that way of listening really is the work. If art is content and form, then I think of myself as the form-maker and the people whom I call my closest collaborators are the content makers. I mold the living material that they generate. Just as being involved in performance art has totally shifted my work in recent years, so have Kaia and Paige. I’m hugely grateful for the way in which they’ve completely gotten me out of ruts, given me new perspectives, and truly created the work.
Pictured Below: saliva synthesis transformation with Paige Fredlund, photo by Laura Bartczak
Lorene Bouboushian can currently be seen in Any Size Mirror is a Dictator, a conceptual opera she helped organize that is playing at Momenta, 56 Bogart, Brooklyn NY; Thursday -Sunday 3-9pm. Oct 19th is the final performance. Go twice if you can. The opera unfolds into a different work each week. [Sidebar: local beers will be served Thursday and Friday. Thank me later.]
Bouboushian’s next show will be a collaboration with performance artist Kaia Gilje and performance art cellist Valerie Kuehne at 7:30pm on October 25, at Outpost Artist Resources in Ridgewood, Queens.
For more information visit: http://lorenebouboushian.com/
3:08 pm • 16 October 2014
Single Minded - Liza Lacroix & TALWST at Huntclub, Toronto
Huntclub premieres three new large-scale paintings by Canadian artist Liza Lacroix, contrasting her earlier oil on Mylar series depicting blemished distorted faces this series moves towards the abstract. Working from collages from fashion magazines the work is reminiscent of layered fabric. As in her previous series that explores the concept of time through the aftermath of violence to the physical body, most probably inflicted with the help of a second party the new work is more introverted portraying thought-processes of the individual mind; bold, layered and messy.
Lacroix’s dramatic large scale oil paintings and TALWST intricate ring boxes seem to have little in common, the two artists are a couple and the work exposed was created in the studio space they have been sharing during the summer - although the work may not be Single-Minded sometimes the often discuss their work with each other. Both strongly situated with art history; TALWST uses imagery from paintings, such as Cezanne and Monet in his ring boxes and Lacroix is inspired by great painters such as Francis Bacon, Manet and Rothko.
If you can’t go see the work in person check it out on Lacroix’s website: http://lizalacroix.tumblr.com/
2:35 pm • 14 October 2014 • 1 note
Spotlight: Negar Behbahani
Negin asked me to specifically highlight Negar Behbahani’s work Lifestrand, deemed to be a crowning aspect of the exhibition Are We Already Gone. The showcase was on view from September 21-October 1 on Crosby Street, and specifically highlighted the performance of Lifestrand.
Negar Behbahani recently graduated from NYU’s Tisch ITP program, and Lifestrand was her thesis project. In the performance, she uses a violin bow to string a long mane of hair. The mane is connected to an upside-down face projection, and spaced using a Persian rug. The viewer is at once invited by the cozy rug layout and withdrawn by the fantastical elements.
Behbahani and I had a chance to talk (she is lovely) and she told me that the piece is rooted in specific personal experiences she’s had, and pressures she’s worked through. She played the violin in childhood, and always envied long hair. The fact that the hair is gray is symbolic of her own gray streak, which she’s had since the age of 15. Ridiculed as a young girl in Tehran, the performance gave her a chance to work through the childhood memories.
The hair in the art installation was sourced from India, so it never exactly belonged to anyone she knew, but the artist retained a personal tie to the concept of the long and luscious strands. Perhaps the title, Lifestrand, relates to this metaphor—strands of hair as the strands of life.
I hesitated to feature this in the full review of Are We Already Gone specifically because it is such an individualized process. The fact that it was such a highlight set it apart from the rest of the curation. However, upon reflection, Lifestrand negates isolated and meaningful reflection.
10:06 am • 4 October 2014
Don’t miss it! Are We Already Gone? An analysis of contemporary social diaspora
I was so excited when my lovely friend Negin Sharifzadeh let me know about her show Are We Already Gone? An artist and an animator, Negin’s curation is consistently both controversial and relatable. The exhibition, addressed themes of diaspora and loss in lieu of the animation office’s relocation. The shift in space after 20 years provided this opportunity to examine widespread absences on a social, global scale. Extended until tomorrow, you should definitely check it out!
I planned to publish this review in ArteNews, and will definitely link if it ends up going in! In the meantime, check out the exhibition and the photos by Karen Sterling:
All works are for sale, please contact us if interested and I’ll pass your info to Negin.
Earthen branches welcome at the entry to the showcase, literally rooted in transition. Negin’s own work was particularly haunting: Story of a Curse and Holding in the Sound, both mixed media with wood, had a fairytale quality, as if the viewer was walking through a forest on a path to discovery. The second half of the space evolves into expressions and articulations of self. Maiden Voyage is a curatorially linking work by Suprina Kenney, with a carved face springing from the curving branch.
All photos courtesy of Karen Sterling and Negin Sharifzadeh (This work is by Lucy Hodgson)
Another striking work was Mehran Saber’s Metamorphosis, an arguably magically realist large oil on canvas. The older couple centered in the painting has a haunting expression, seemingly overwhelmed by the animation surrounding them. This pathos is undeniably provocative for the viewer, not least with the juxtaposition of artistic styles in seamless diversity.
Identity takes the particularly powerful form of anger with Ruth A. Mora’s Ignorance and Indifference. The viewer crouches beside sheared papers of vice in a red-lit room, reading the shreds of “corruption” “racism” and violence. In a faint and monotone voice, a woman said “I don’t know. I don’t care” on repeat. The dichotomy created between repetitive indifference and literally piles of unavoidable woes feels deliberately false, ultimately powerful in its subtle suggestion of the need for change.
Not all the work is forceful, however. Ali Chitsaz’s mirrored acrylics expressed the same questions of identity even comically: First the viewer peered into a speck of mirror painted with a loose self portrait for See yourself in me, and then another abstract expressionist rendering of See yourself in John Travolta. In a way, this quick infusion of a seemingly irrelevant celebrity has elements of Warhol, whereas the strokes of Chitsaz’s painting are almost reminiscent of Max Beckmann. Although undeniably humorous, the allusion to fragmented identity is challenging.
Iranian, Palestinian, Egyptian and American artists among others expound on this theme of loss in self. In a sociopolitical atmosphere too often plagued by hate speech and misguidance, an artistic overture on disappearance, and inadvertently, belonging, is critically valuable.
12:53 pm • 30 September 2014
Prune Nourry’s Terracotta Daughters at the China Institute, Sept. 11-Oct. 4
Prune Nourry often questions gender in her work, but the aesthetic power of 116 Terracotta Daughters is exceptionally staggering. The Parisian artist worked with a craftsman to sculpt the life-size terracotta, modeled after eight living Chinese girls. The showcase directly references Emperor Qin’s Terracotta Army, a national treasure of China dating back to ca. 210 BC, but the marked change from warrior to young girl has an undeniable symbolism.
Nourry’s showcase has traveled across Europe, making its debut in New York just in time for September Asia Week. It opened in Shanghai, and plans to be closed there: the work will be buried until 2030 just like the Terracotta Army was buried until the 1970s, hopefully to be unveiled again as an archaeological revelation.
I jocked this off the artist’s website: http://vimeo.com/79253556
6:27 pm • 17 September 2014
(No it’s not porn, it’s art)
See our favourite performance artist (and dear contributor) trapped in a cage on September 9th and 10th! Watch it from your laptop, computer, ipad, cellphone on livestream & join the discussion!
"TOMORROW: I will begin my stay in Maio Jiaxin’s cage, Sept 9th and Sept 10th. You can observe what I do 24/7 via live stream at https://new.livestream.com/accounts/8810058/miaojiaxinstudio From 9am -12pm I must sit in the Cage with no electronic devices, reading materials, craft work, writing utensils, or exercise activities and sleep is forbidden. I will be meditating and beautifying for the day in my catsuit. WHAT ELSE is left to do?” - Yana
Looks crazy, I can’t wait. /Anna Mikaela
6:25 pm • 9 September 2014
Made in L.A.
A biennial worth mentioned due to it’s ground-breaking artist selection - it features more female than male artists! Given the statistic that more women than men go to art school and become artists, it makes sense. Curated by Hammer chief curator Connie Butler and independent curator Michael Ned Holte, who slammed the the previous inaugural 2012 biennial in Artforum, work fills all the museum’s galleries and several of it’s outdoor spaces. It feels fresh as 3/4 of the artists are under 45 and most have not had solos shows in L.A., those who have were predominantly exhibited in smaller or alternative venues.
WEST COAST COOL! / Anna Mikaela
Made in L.A. is on view at UCLA Hammer Museum, Los Angeles until September 7th, 2014.
Pictured: Sara Rara, The Pollinator, video still. Channing Hansen 13.35, installation. Tala Madani.
3:50 pm • 4 September 2014 • 2 notes
Happy Belated Birthday to our visionary leader! She is off somewhere at the last-ever Burning Man gettin’ cray.
BE SAFE HAVE FUN KEEP AGING FANTASTICALLY
1:43 pm • 27 August 2014
Côté Basque & Bilbao
The Basque district spans over the South-West France into Spain and roads and shops bear both French and Basque names. It is less crowded and flashy than the Côte d’Azur yet it has many super chic pockets - a local artist told me that Vito and Lola Schnabel learned how to surf here.
Zako’s studio in Bidart
I spent a week exploring the art scene with ex-pro snowboarder now artist and sculptor Zako (who is thanks to my surfer uncle part of my family- Yeah!!!). She mainly works in metal and embroidery with large-scale sculpture of the human body, skulls and design objects with a recent foray into conceptual work around religion.
After being denied her spot in the Spanish Olympic team (because she recently had mothered a son-WTF?!!) she decided to, after putting up a fight, finally leave competitive snowboarding to work on her art. Her recent series reflects the identity-crisis she went through during this shift, “losing my religion.” Like the large-scale rosaries with ovaries hanging in her studio and the crucified bunny rabbit “Jesus Crabbit” looking out over the garden.
Guggenheim Bilbao & a spider by Louise Bourgeois
Guggenheim Bilbao, that unfortunately does little to support local art practice apart from having a Spanish wing, is the regions main cultural attraction. The building designed by Frank Gehry is impressive in it’s own right but the stainless steel walkways, asymmetrical space and large sheets of metal seem to compete with the art exhibited. The Yoko Ono retrospective was fantastic - Fly(1970), a video following flies on Ono’s body was great to see IRL.
Another incredible building, reminiscent of a wave is the The Cité de l’Océan et du Surf in Biarritz designed by Steven Holl Architects in collaboration with Solange Fabião. The museum’s content seems to be a disappointment but the photography show on view on the lawn outside was cool. Magnificent photos of waves by Sylvain Cazenove and the underwater creatures Francoise Latour caught my eye.
The launch party of the International Surf Film Festival of Anglet was a great venue to meet the creative crowd, each town has atleast one gallery and in the summer there is a new show opening every week! One of the cooler spaces is Space Junk, with an impressive output of publications, founded by Jérome Catz in 2003. Representing “low brow” artists including an array of ex pro-snowboarders, and skaters they have launched many artists careers, including Zako’s. When we visited the Bayonne location art historical and political reference heavy work by French street and stencil artist Goin was on view, her work is awesome, poignant and if you’re looking to decorate your home - very affordable!
PS —- I helped Zako with the piece below - in protest to the war on Palestine, Guerilla Art!
4:49 pm • 17 August 2014
A few days ago I visited the studio of Santina Amato… I was in for a treat. While Amato’s past work has included performative installations, such as repeatedly attempting to cast the perfect pair of ice stilettos in Frozen Volatility, 2013 (pictured above), her more recent work is more of an skewed study of the body through video, installation, and sculpture. One of the strongest pieces I found in this studio was a slow motion video that rolled past stuffed stockings, which appear to be unrecognizable flesh on camera. A relationship guru gives advice in the audio background as the video rolls over the intimately intertwined sculptures.
"Voyeuristic in it’s approach and adopting a deceptively childlike charm, logic and aesthetic, my work instantly transports the viewer into a feminine surrealist wonderland, a fairytale-esque environment that explores the "in-between", the tension that lies both within the physical and psychological space of the female identity." — Santina Amato
This is not feminist work, but it is decidedly female work. In today’s art world that alone is still a striking public declaration. Let’s hope this artist finds museum programming in more than just “feminist” art shows. Her mass exposure is recommended.
Amato’s next exhibition “Erroneously Predisposed” will open September 6th, 2014 at the Governor’s Island Art Fair.
There is also an an amazing photo journal of her work available for $100 USD + $10 shipping. Email firstname.lastname@example.org for more purchase information.
12:02 pm • 12 August 2014
WE’RE ON HOLIDAY xo Anna Mikaela
Alex is flying across the U.S. with a dashing beau in a small Cessna plane, Ayana is on her way to Chicago after hosting major birthday celebrations with NYC’s performance art clique and I am recovering after a tumultuous night of crossing wheat fields with a couple of young tattooed townie-boys trying to sneak into a music festival on the English country-side…
We will report back again shortly! IN THE MEANTIME just SCROLL DOWN.
(David LaChapelle, underwear ad)
9:19 am • 28 July 2014
So I discovered the @TheRealHennessy Twitter paintings today by Greg Allen (@gregorg on Twitter). At first I thought the paintings were made by Jayson Musson. Then after a brief twitter exchange (which was of course quite funny, so I’m posting it here) I realized, I was wrong. These paintings are the work of Greg, who has simply appropriated his buddy’s tweets.
I find this work brilliant on many levels. And I expect others to have the critique that it’s not real painting, it’s not really his work, it’s feeding off his friend’s art cred, blah blah blah. Whatever. This work is funny and abstract. I’m sold.
More formal musing on the art from greg.org here:
"The series of monochrome tweet paintings, of which @TheRealHennessy Tweets, Moby is an outstanding example, presents the viewer with a strangely puzzling juxtaposition of a minimalist canvas and painted words. Although this can be interpreted as a reference to postmodern linguistic theory, the work also points to two quintessentially American features: hard-edge abstraction and popular humor. Cleverly subverting the clean and serious language of abstract painting, the tweets’ amalgamation of low and high culture characterizes @TheRealHennessy Tweet’s most iconic work. This intelligent fusion of conceptual strategies with popular cultural references, which has been the driving force throughout @TheRealHennessy Tweet’s influential practice, is perfectly merged in @TheRealHennessy Tweets, Moby. Wittingly parodying the uncomplicated jokes from vernacular literature, the artist has found a way of incorporating a difficult subject-matter - humor - into a deeply serious artistic practice.
AND THIS IS MY FAVORITE PART OF IT ALL: “The first painting is available for $1,800. Please tweet, DM, or email for further information. —www.greg.org)
Ayana Evans @yana_handbags on Twitter
4:33 pm • 18 July 2014 • 29 notes
Bear Kirkpatrick! A well-groomed artist
I hope everyone is having a lovely summer. We know Mikaela is, now that her magnificent Swedish Wooden Toy project has come to fruition. In my life, I just went to the beautiful wedding of Zoe and Bear. Zoe is a curator and blogger, not to mention the designer of one the prettiest weddings I’ve been to (I’ll get to her later), and Bear is a pretty cool artist in his own right.
I did my best to give them an appropriate wedding gift, but in the meantime, let’s take a sneak peak of an art critical look at the groom, shall we?
Bear works with portraiture, using digital programming to super-impose and reimagine imagery from ranging from the historic to the fantastical. In addition the imagery, there are also printed books available.
The subject of this image, from the Early Settlers series, is actually this weekend’s bride!
That’s her brother, in Portraits Praelium. The bird theme is recurrent throughout his work as well, having been featured in the earlier Human Diaorama series, as was active in 2012.
Bear has been well-received in various galleries, having shown in New York on numerous occasions. His glorious website, from which all these images are ruthlessly stolen, has a cohesive list.
Then there was the time they covered me in poppy seeds, Photoshopped me into a pregnancy, and then the picture got picked up by Le Monde. Stay tuned for an updated version of this post with that image in a little while!
Many congratulations to the bride and groom!
3:31 pm • 14 July 2014
SWEDISH WOODEN TOYS, LES ARTS DECORATIFS
(Paris Je t’aime, part 3)
Swedish Wooden Toys opened on June 18th at Les Arts Decoratifs in Paris, it is the exhibition to see this summer, fall and winter. It is the premier exhibition in Paris right now. It is magnificent. Tell one tell all.
A treat for any design aficionado, nostalgic adult and child. The exhibition is a library of knowledge mapping the history of Swedish toy manufacture presenting more than 250 toys from the 17th-21st century. Major Swedish toy companies like Gemla, Brio, Micki, Playsam, IKEA are represented alongside more rare items from smaller factories like Berglinds, Kometen and ACNE JR in the toy galleries of Les Arts Decoratifs.
Most of the toys are from the ‘golden age of toys’ 1860-1930, arranged in themes such as Doll Houses, The Horse, Transportation and Winter Toys showcased in a magical immersive environment of birch-trees and rainbows in cardboard created by celebrated french designer Matali Crasset. The toys will tour to New York in 2015.
Advanced amateur made toys, like the the 19th century dollhouse with an electric elevator contrast more simple ones such as a moose carved in wood. In the realm between toys and decorative household objects and representing a shift from home-made to larger scale manufacture a herd of Dalcarlian horses stand in one of the cases ready to be admired.
The exhibition is accompanied by Swedish Wooden Toys the first major publication on the history of Swedish wooden toys, published in English by the Bard Graduate Center and Yale University Press. The book features contributions by specialists such as the exhibitions curators Amy F. Ogata, professor in Design History, Susan Weber, founding Director of Bard Graduate Center and Peter Pluntky, a Swedish toy expert and collector as well as Solveig Nordh, curator of the BRIO Lekoseum, and Hedvig Hedqvist, a journalist, among others.
All of the works in the exhibition are vividly reproduced with magnificent photographs in the catalog.
As all things American the exhibition in New York at the Bard Graduate Center opening in the fall of 2015 will be bigger and, I dare say, better - showcasing one hundred more toys than the Paris exhibition!
Swedish Wooden Toys at Les Arts Decoratifs is open until January 2015.
ps. By the way, my name is in the catalog, I wokred on the exhibition as curatorial assistant for 2.5 yrs!!! HÄFTIGT!
Amusez-vous bien! / Anna Mikaela
3:12 am • 11 July 2014 • 1 note