Park Avenue Armory

Watch Out: You’re in Ai Weiwei’s Surveillance Zone

Its sheer spectacle inspires brief awe, then you figure it out, and it is reduced to technology, and fun. The fun is especially dense in the large, somewhat lighter areas of the drill hall floor called “clearings,” where the captured images erode more slowly. Visitors hold and repeat deliberate poses — for a kind of Muybridge, stop-motion effect. Or they collaborate, joining hands in rings. Dancers and yoga devotees may especially revel.

– Roberta Smith, The New York Times

Posted on June 8, 2017 — Press Coverage, Hansel & Gretel

View Article

Ai Weiwei and Herzog & de Meuron’s New Collaboration Is Breathtaking

A timeline of the history of surveillance, meanwhile, makes one thing abundantly clear: Privacy is over. But if it’s any consolation, you can leave with a printout of your own image, seen from the vantage point of dear old Big Bro.

– Samuel Cochran, Architectural Digest

Posted on June 6, 2017 — Press Coverage, Hansel & Gretel

View Article

A Mesmerizing ‘Hairy Ape’ Brings Existentialism to Park Avenue

His name is Robert Smith, but everyone calls him Yank. And it is a part that has just been waiting these many decades for Bobby Cannavale to step into it.

– Ben Brantley, The New York Times

Posted on April 9, 2017 — , The Hairy Ape

View Article

An Industrial Hellscape With You at the Center

In New York, the production has the cast, including Bobby Cannavale as the brawny ship stoker Yank, perform on a turntable that circles the audience like a conveyor belt.

– Erik Piepenburg, The New York Times

Posted on March 27, 2017 — Press Releases, The Hairy Ape

View Article

The Layered Poetry of “The Hairy Ape”

Writing from inside Yank’s deepest desires, dreams, and innocence, O’Neill created one of his more densely and poetically conceived scripts, about a world where language and the body confuse one another, and end up cancelling each other out.

– Hilton Als, The New Yorker

Posted on March 17, 2017 — Press Coverage, The Hairy Ape

View Article

500 Words: Martin Creed

I wanted to do a show that’s looking out at the world instead of in. The Armory’s drill hall is such a huge space, occupying a whole block; its sheer size is one of its most obvious features. It’s scary. I didn’t want to make something big just to fill it, and I didn’t want to create a world inside. I wanted to look out onto the world. Something I’ve been thinking a lot about recently is that art galleries, studios, and houses can be cut off from the world. They are designed to keep things precious and away from dirt and difficulty. I think this produces a great danger: you’re looking away from life and not toward it.

– Laura Hoffman, Art Forum

Posted on June 21, 2016 — , Martin Creed: The Back Door

View Article

Page 1 of 5 pages  1 2 3 >  Last ›