As the sun went down one evening over San Francisco’s shipyards, the anthropologist Philippe Bourgois came across a man in a drug-induced seizure under the intersection of two freeways. Bourgois was only a few months into a 12-year research project on homeless heroin addicts, a journey that would make him a habitué of vacant factories, dead-end alleyways, storage lots, and broken-down cars. Read More
The rumor has been confirmed that Greek-born, Italian-trained dynamo Olympia Kazi is taking over as executive director of the Van Alen Institute as of January 18. After a two-year stint as same at the Institute for Urban Design, where she put the spin on that org’s thirty-year mission to prove that “cities can be designed,” she will now, we presume, have a deeper pool and a wider horizon from which to launch some really big plans. Stay tuned for the official statement.
In a series of articles over the past week, The Art Newspaper takes an extensive look at the recently concluded art extravaganza in Miami. It reports that the scene was not as grim as last year, offering this roundup of celebrity-studded Art Basel Miami Beach: “The fair attracted its usual tribes of pop stars, fashionistas, museum directors, actresses in sky-high stilettos and dressed-down buyers, including a denim-clad Roman Abramovich, the Russian billionaire. Lily Allen was sashaying around White Cube, while John Taylor of Duran Duran showed interest in a Richard Prince collage at Gagosian.” But while on the subject of Miami and its art world, the paper reported on Terry Riley’s exit from the Miami Art Museum (MAM), and added a few interesting tidbits to the story. Read More
It was a low-key but engaging evening at The Storefront for Art & Architecture on Thursday at the opening reception for Marina Ballo Charmet’s peculiarly-titled exhibition of photos and a video, At Land: Bodyscape & Cityscape. Trained as a psychoanalyst, Charmet’s work is driven by her self-professed interest in “inattentive, unintentional observation, irrational and without direction.” As you might guess from the exhibition’s title, the works on display range in scale from the extremely intimate to the nearly impersonal, and were culled from four separate series the artist has been compiling since the mid-1990s. Their common denominator, explains curator Jean-Francois Chevrier in the text that accompanies the show, is Charmet’s proclivity to move “at land, to quote the first film by Maya Deren. [...] She makes her way as one would sail, through cities and parks, among bodies, giving her pictures an oceanic and kinematic dimension.” Read More