"In sculpture, more so than in painting, materials want to do what they want to do. You can’t torture them into being something they don’t want to be. This principle always stuck with me. At some point I introduced that logic to content as well. I don’t want to make it feel like I am imposing a meaning or that I am preaching anything. I like to be true to what the thing is."—#SarahLucas in conversation with New Museum Artistic Director Massimiliano Gioni in the catalogue for "Sarah Lucas: Au Naturel."
In her 2018 work “The Place of Stone,” Aslı Çavuşoğlu has created a beautiful wall of fresco panels, giving new life to an artistic form that has traditionally incorporated lapis pigment. Çavuşoğlu’s work references the manner in which frescoes have been used by researchers to uncover details of lapis lazuli’s trade and distribution as well as its evolving cultural symbolism, which spans the sacred, the political and the emotional. "The Place of Stone" is on view in our Lobby Gallery through January 13. #AsliCavusoglu@aslinda
The fragmented spaces of #DanHerschlein’s (@imareporterx3) “The Architect” suggest the uncanny atmosphere of nightmares, merging markers of domesticity such as sofas, tables, recliners, and windows with human figures or disembodied limbs. Like many of Herschlein’s works, “The Architect” alludes to the architectures of the mind and explores how bodies and domestic spaces can serve as vessels of memory, symbols of longing, or witnesses of loss. . . Photo: Charles Benton
“Blood in My Milk” by #MariannaSimnett brings four of the artist’s most important works to date into one overarching storyline told across five screens. Drawing on imagery of hospitals, laboratories and industrial farms, the film conveys a sense of discomfort with sterile environments and the invisible alien substances in our bodies that medical and industrial procedures aim to conceal. See “Blood in My Milk” in our South Galleries through January 6.
The human body and anthropomorphic forms recur throughout #SarahLucas's works, often appearing erotic, humorous, fragmented, or reconfigured into fantastical anatomies of desire. . . Sarah Lucas, Mumum, 2012. Tights, fluff, and chair frame. 57 x 32 1/2 x 43 in (144.7 x 82.5 x 109.2 cm). Collection Marc Quinn
This is the last weekend to see “Strange Days: Memories of the Future,” co-presented by @thevinylfactory at 180 The Strand (@thestoresdotcom) in London. The exhibition features works by twenty-one acclaimed artists, including the 2015 film “Vertigo Sea” (pictured here) by #JohnAkomfrah, who was recently recognized by @apollomagazine as their artist of the year. #StrangeDays closes December 9. . . Photo: Jack Hems
#SarahLucas: Au Naturel addresses the ways in which Lucas’s works engage with crucial debates about gender and power, along with the legacy of Surrealism—from her clever transformations of everyday objects to her exploration of sexual ambiguity and the tension between the familiar and the absurd. On view through January 20, 2019 🛁
Get into the holiday spirit with our Members Holiday Party! Join as a member today to join us next Tuesday December 11 for live music by @thestandard, cocktails by @campariofficial, a special activation by @manicpanicnyc, exclusive after-hours viewings of our exhibitions, and a holiday gift raffle. Hit the link in our bio to join now to attend! 🎉
At Matthew Barney's studio in Long Island City, #SarahLucas affixes cigarettes to the exterior of a bisected 2003 Jaguar. The work, titled "This Jaguar's Going to Heaven," (2018) is one of two large-scale works made specifically for "Au Naturel," on view through January 20. . . Join us this Thursday December 6 at 3 p.m. for our Outside the Box gallery talk on Lucas's work with artist #JessiReaves. Free with paid admission. . . Photo: Ari Marcopoulos (@ari_marcopoulos_official)
In 2013, #RagnarKjartansson recruited @TheNational to perform their song "Sorrow" on a loop for six uninterrupted hours. The resulting footage of the marathon performance became the basis of Kjartansson's film "A Lot of Sorrow," which is now on view as part of #StrangeDays, co-presented by @thevinylfactory and on view in London at 180 The Strand @thestoresdotcom through December 9.