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    Artist Jim Hodges on Why He Wants to Keep the Secret of His Powerful New Public Memorial

    An open closet now stands in New York’s AIDS Memorial Park. In it are hangers and hoodies, stacked boxes and folded weekend bags. The structure looks, in other words, like a generic storage space. It is and it isn’t.  
    The piece, called Craig’s Closet (2023), was created by artist Jim Hodges as a memorial to the more than 100,000 New Yorkers who have died as part of the HIV/AIDS epidemic—more than a few of whom he called friends and colleagues. It’s built to scale in granite and bronze and painted in an eerie, funereal black.  
    You needn’t know the name of Hodges’s sculpture to understand that it was based on a particular person. The specificity of the artwork, right down to the wrinkles on the shirts, reveals that the piece was an act of recreation rather than strict imagination. But despite the attention to detail, we still don’t know who Craig is. We don’t know their surname or relationship to the artist; we don’t know if they died or how.   
    Hodges, for his part, is not interested in sharing that information. He doesn’t want speculation about his relationship to the subject to distract from the universal valence of the piece. 
    “The personal is all evident within the work itself,” he said in an interview. “I think to expand on that narrative takes away the focus of the object and I would prefer not to do that.”  
    This is one of many tensions at the heart of the artwork. Craig’s Closet is intimate yet anonymous. Its material is hard but its subject matter is soft. Like most public pieces, it’s tough and heavy, built to withstand weather and crowds; but what it symbolizes is the opposite: the fragility of life.  
    Jim Hodges, Craig’s Closet (2023), detail. © Jim Hodges. Courtesy of the artist and Gladstone Gallery. Photo: Daniel Greer.
    Hodges, who lives and works in New York, moved to the city as an upstart artist back in the mid-1980s, during the height of the HIV/AIDS epidemic. He absolutely did know many who were impacted by the crisis, including his close friend Felix Gonzalez-Torres, who died from an AIDS-related illness in 1996.  
    But when asked about these experiences Hodges again hedged, insisting that his sculpture points outward rather than back at himself.  
    He instead directed attention to the history of the site on which his artwork stands. Nearby is St. Vincent’s Hospital, a facility once referred to as “ground zero” of the AIDS epidemic, as well as to the neighborhood haunts of Greenwich Village, home to generations of artists, activists, and performers. 
    Hodges said the goal of the piece was to “utilize that space and its proximity and context as a kind of portal of expansion for people to enter from their own points of reference.” Fittingly, the bare back of the sculpture is reflective: “One being able to catch a glimpse of themselves in the work is important to me,” he added.  
    That Hodges settled on the closet, an already loaded metaphor, for his memorial says a lot about his intentions. The sculpture subverts the site as a space in which identities are concealed. Instead, it presents the closete as a kind of stage on which we place all the little tokens of our lives.  
    “The scene is set, and narratives blossom whenever the doors swing open,” the artist wrote in a description of his piece. “This opening gives us a reminder, an understanding of who we are, where we have been, secrets, and the dreams we hold.” 
    Jim Hodges, Craig’s Closet (2023), detail. © Jim Hodges. Courtesy of the artist and Gladstone Gallery. Photo: Daniel Greer.
    The care with which Hodges crafted the sculpture hints at just how personal it is to him, even if he declines to talk about it. “An awful lot of love goes into making a work that you want people to feel,” he said. “That’s the standard: loving it.”  
    Craig’s Closet (2023) is on view now through May of 2024 in the New York City AIDS Memorial Park. 
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    Art Merges With Nature in Los Angeles This Summer. Here’s a Guide to Four Cultural Excursions, From the Canyons to the Beach

    Angelenos, ready to get your steps in? After sharing our New York summer art guide last week, we’ve prepared another practical guide for viewing summer art exhibitions, this time in Los Angeles. We’ve compiled daily itineraries to help you navigate four art destinations around town—including the Broad, Getty Villa, and LACMA—complete with stops for refreshment before and after, because you will need your strength.

    The Broad MuseumYayoi Kusama’s Infinity Mirror Room
    The Broad museum in Los Angeles. Courtesy of the Broad.
    Yayoi Kusama first produced her Infinity Mirror Rooms in the 1960s, inviting viewers to step into kaleidoscopic illusions of infinite space. In recent years, variations of the mirrored rooms have been exhibited internationally, gaining new meaning—and Instagram cachet—for contemporary audiences keen on immersive spaces. The room currently installed at the Broad museum in downtown Los Angeles (221 South Grand Avenue), Infinity Mirror Room—The Souls of Millions of Light Years Away, features dazzling lights that place the visitor in a twinkling cosmos. But beware, this is a highly popular exhibition; the maximum time to enjoy it is 45 seconds. More

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    Banksy’s First ‘Official’ Exhibition in 14 Years Opens in Glasgow, With Never-Before-Shown Stencils—and the Artist’s Toilet

    There is a Duke of Wellington statue outside Scotland’s Gallery of Modern Art (GoMA), and for more than 40 years, Glaswegians have capped it with a traffic cone. When local authorities devised a scheme in 2013 to raise the statue higher so it couldn’t be reached by impromptu hatters, there was public outcry and a petition that rapidly gathered thousands of signatories. The cone stayed, a monument to the city’s playful sense of humor.
    Banksy has called it his favorite work of art in the UK and a major reason why his first official show in 14 years (and there have been several unofficial ones) will be staged at the Scottish institution.
    “Cut & Run”, which is on view from June 18 to August 28, takes people inside the practice and thinking of one of the world’s most famous street artists, through artworks, artefacts, and personal items—including his toilet—many of which have never been exhibited before. This intention is clear from the first room, in which visitors pass through a replica artist’s studio with a rack of spray cans and an appropriately disorganized work station.
    The opening room of Banksy’s “Cut & Run” at the Gallery of Modern Art in Glasgow. Photo: Jeff J. Mitchell/Getty Images.
    The works on display span from 1988 to the present, with Banksy’s original stencils for some of his most famous pieces featuring prominently, ones he claims he’d long hidden for fear of being charged for criminal damages.
    There’s Kissing Coppers, the 2004 black and white work of two male police officers getting intimate that first appeared outside a pub in Brighton, the U.K.’s LGBTQ+ capital. There’s his Port Talbot stencil that highlighted the region’s poor air quality with an open-armed boy playing in snow-like ash. There’s one of a young female gymnast performing a handstand from his “Borodyanka, Ukraine” series which Banksy sprayed as a protest to the country’s invasion by Russia.
    Banksy’s Basquiat being stop and searched (2017) on show in Glasgow. Photo: Jeff J. Mitchell/Getty Images.
    “Cut & Run” presents other provocations of the non-graffiti variety, including a riot police helmet transformed into a disco ball, and the Union Jack-patterned stab vest he made for British rapper Stomzy, ahead of his 2019 Glastonbury headline slot.
    Visitors are also treated to a detailed run through of Love is in the Bin, Banksy’s 2018 work that shredded itself moments after selling for $1.4 million at Sotheby’s (it sold fora whopping $25.4 million at the same auction house three years later).

    GoMA, which is run by the city council, is understandably delighted to have been chosen as the stage for an official Banksy exhibition. “Street art has become one of Glasgow’s signatures,” councillor Susan Aitken, the leader of Glasgow City Council, said in a statement. “There’s no one who’s done more to put street art at the heart of culture, politics and society than Banksy. We’re delighted Banksy has chosen Glasgow to host their work.”

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    The Louvre Has Displayed Sacred Treasures Rescued From Ukraine as Part of Its Partnership With Local Museums

    Last month, the Louvre was involved in a top secret mission to evacuate 16 fragile cultural objects out of Ukraine for safekeeping. The artifacts traveled in convoy from the Bohdan and Khanenko museums in Kyiv via Poland and Germany and are now no longer at serious risk of damage or theft.
    An exhibition of five sacred icons from the group opened earlier this week in the Denon wing at the Paris museum. Four are 6th and 7th century encaustic paintings on wood that originated from Saint Catherine’s Monastery in Egypt. The fifth is a late 13th- or early 14th-century micro-mosaic from Constantinople with a highly intricate gold frame.
    Micro-mosaic icon representing Saint Nicholas. Photo: © Khanenko Museum.
    Ukraine’s culture minister attended the display’s official unveiling at the Louvre on Wednesday. “It’s a very symbolic and effective gesture of support for Ukrainian culture,” he told members of the press, according to Reuters. “[The Russians] are stealing our artifacts, they ruined our cultural heritage sites and this shows how big and huge Ukrainian culture is, which is part of world heritage.”
    The initiative to secure the icons has been in the works since December 2022, when Louvre staff first began collaborating with colleagues at the two Ukrainian museums. The unprecedented mission was developed in partnership with the International Alliance for the Protection of Heritage in Conflict Areas and was kept entirely secret.
    “Like other museums, we have been concerned to see how we can support our Ukrainian colleagues. In the autumn, faced with the intensity of the conflict, we decided to carry out this rescue,” the Louvre’s president, Laurence des Cars, told the press agency AFP. “It’s not much in a sea of sadness and desolation, but it’s a symbol.”
    The Louvre’s new display “The Origins of the Sacred Image” sets out to explore early classical influences on Byzantine civilization and will be supported by new analysis and research by Ukrainian and international specialists. It has also been billed as something of a teaser for what audiences can expect from the Louvre’s forthcoming new department of Byzantine and eastern Christian art, set to open in 2027.
    The 16 objects are now being safeguarded at the Louvre, but there are also efforts to protect cultural treasures in Ukraine. Shortly after war broke out in February 2022, the Khanenko removed and hid its entire collection of 25,000 works. This limited the damage of a missile strike that hit the historic building last October. The Taras Shevchenko Museum was also targeted.
    Another museum collaboration in support of Ukraine was announced this week. The Met and the Smithsonian are partnering to help train a group of soldiers to become Monuments Men, who will better equipped to protect cultural heritage while deployed in Ukraine.
    “The Origins of the Sacred Image: Icons from the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv” runs through November 6, 2023. 

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    David Bowie Crossed the Soviet Union on the Trans-Siberian Express Train in 1973. Fascinating Photos Document a Historic Voyage

    A 1973 train trip through Siberia to Moscow by rock legend David Bowie is now the subject of a museum exhibition. “David Bowie in the Soviet Union” at California’s Wende Museum features his friend Geoff MacCormack’s photos of the rock star at the end of his worldwide Ziggy Stardust/Aladdin Sane tour, in which the photographer participated as a singer, percussionist, and dancer. 
    After a concert in Yokohama, Japan, Bowie—who had a phobia about flying due to a fortune teller’s prediction that he would die on a plane—suggested he and members of his entourage take the Trans-Siberian Express train, running along the longest railway line in the world at some 5,772 miles, en route to Paris via Warsaw and East Berlin. Using a Japanese Nikkormat camera, MacCormack (aka Warren Peace), who had known Bowie since they were eight years old, captured intimate moments with the musician throughout the train trip.
    Geoff MacCormack, David Bowie in Front of the Trans-Siberian Express, 1973. Courtesy of the artist and Wende Museum.
    Bowie and MacCormack mixed with fans and caroused with soldiers and sailors, with the aftermath depicted in MacCormack’s David Bowie After Long Drinking Sessions on the Train (1973). MacCormack also documents everyday moments like a woman skipping rope on a train platform and Russian boys posing for the camera. Leee Black Childers, photographer and writer, shot Bowie and MacCormack on the train and in Moscow. 
    The show includes Bowie’s own The Long Way Home, a nearly eight-minute documentary, shot on 16mm film during the trip itself, that includes their attendance at the May Day Parade in Moscow. MacCormack’s photos are interspersed with Bowie’s footage. Also included in the film program is a 20-minute interview with Bowie in the USSR in 1996 by Artemy Troitsky. The exhibition is guest curated by Olya Sova, an independent curator who divides her time between London and L.A. and runs the arts organization The New Social. 
    MacCormack published the photographic memoir David Bowie: Rock ‘n’ Roll With Me this spring. It’s named after a song on Bowie’s 1974 album Diamond Dogs that he co-wrote. 
    Accompanying the show is a playlist put together by Los Angeles non-profit online radio station dublab.
    See more photos from the show below.
    Leee Black Childers, David Bowie and Geoff MacCormack on the Trans-Siberian Express (1973). Courtesy of the artist and Wende Museum.
    Geoff MacCormack, David Bowie After Long Drinking Sessions on the Train (1973). Courtesy of the artist and Wende Museum.
    Geoff MacCormack, Skipping Lady (1973). Courtesy of the artist and Wende Museum.
    Leee Black Childers, David Bowie and Geoff MacCormack at the May Parade at Red Square (1973). Courtesy of the artist and Wende Museum.
    “David Bowie in the Soviet Union” is on view at the Wende Museum, 10808 Culver Blvd, Culver City, California, through October 22.

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    in Street Art

    New Mural by Johannes Mundinger in Espelkamp, Germany

    Berlin artist Johannes Mundinger paints Benkhauser Mill. The Benkhauser Mühle is localy known for its select assortment of pet food and gardening articles. The actual mill, which stands at the back of the property, is less conspicuous. This changed last weekend, when Johannes Mundinger painted the southern façade with a typical mural, as part of his project Feldforschung.Under this title he paints barns and buildings in the countryside, showing his work in environments far from established exhibition venues or big cities, to bring some unexpected perspectives to the visitors. In the motifs, he takes up the stories of residents or the owners and what he learns about the building and environment, about its use and function during the times.A mural often takes up an entire house façade. Johannes Mundinger also likes to use the entire surface of a façade, so that his abstract works can sometimes be 10 to 15 metres high, as for example at the Art Space ATEA in Mexico City or the mural at the Neulpureun School in Yeoju in South Korea.The artist didn’t have to go quite that high this time, but a scaffold was still needed to paint the seven-metre-high mill wall. The artist, who lives in Berlin, had already done some research on the mill beforehand. A typical approach for him is to incorporate the history and function of a building into his work. To learn more about the Benkhauser Mühle, Johannes Mundinger had a long talk with senior manager Marlis Meyer, who could tell a lot about the history of the mill.She told how the mill was actually first powered by the stream Flöte, which flows directly along the property, and was only later expanded by wind power. The two ponds in which the water was dammed were also used to make ice. These ice blocks were delivered by horse-drawn carts to the local brewery, where they were used for cooling, Marlis Meyer recounted. If you look closely at the newly created mural, you can spot the two mill ponds in the picture. The wing that broke off the mill in the early 20th century has also found its way into the composition of the picture, Johannes Mundinger continued. In his conversations with Marlis Meyer, Johannes Mundinger learned about many exciting stories about the mill, some of which the senior manager illustrated with newspaper articles that she keeps in a small newspaper archive. These stories then flow consciously or unconsciously into the painting in the process of painting.As further inspiration, Johannes Mundinger looked at microscopic photographs of wheat flour and incorporated these views into the composition. Here, Johannes Mundinger has detached himself from the realistic image; colour and plasticity are left out and are not depicted.Abstraction and omission or even overpainting are an essential part of Mundinger’s art. Figurative representations are rather rare here. It is more a matter of capturing the essence of something and then depicting only the essentials. The play with levels, surfaces and forms also takes up a lot of space. Surfaces are often superimposed and juxtaposed to create abstractions, but also spatial depth.The project was funded by Kreis Minden-Lübbecke with material support of Yes and Productions, Berlin.  Credits: Eva Rahe @eva_rahe More

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    13 Must-See Museum Exhibitions in Europe This Summer, From Modernist Rediscoveries in Scandinavia to a Kusama Blockbuster in Bilbao

    By all indications, this summer will be another record-setting season for travel. With Americans’ trips alone surging 55 percent over last year—which was already a sixfold increase compared to 2021—chances are you, or someone you know, will be jetting around the continent during the next three months. No path across Europe is complete without a visit or two to its renowned art institutions, so here’s our list of the most intriguing European museum shows to have on your radar (or to share with others) while hitting the cobblestones or autobahns this summer. 
     

    “Ragnar Kjartansson: Epic Waste of Love and Understanding”
    Louisiana Museum of Modern Art, Humlebaek, Denmark 
    Through October 22, 2023
    Still from Ragnar Kjartansson, No Tomorrow (2022). Courtesy of the Louisiana Museum of Modern Art, Humlebaek, Denmark.
    Scandinavia’s first major retrospective of Ragnar Kjartansson presents two decades of the Icelandic contemporary artist’s creations across a multitude of mediums. Connected by an underlying pathos and irony, Kjartansson’s works tread an ambiguous line between the tragic and the comic, whether they’re commenting on how we understand ourselves, our myths, power structures, or masculine identities. In addition to popular hits such as The End (2009) and The Visitors (2012), be sure to catch entirely new projects created for Louisiana’s exhibition, including the marbled plywood monument at the main entrance and the new performance Bangemand (Scaredman). 

    “Thorvald Hellesen. Pioneering Cubism”
    National Museum, Oslo, Norway 
    Through August 20, 2023  More

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    In Pictures: A Series of Paintings Basquiat Made During an Italian Residency He Loathed Have Been Reunited at Switzerland’s Beyeler Foundation

    Although he is essentially synonymous with the New York underground scene of the 1980s, Jean-Michel Basquiat also traveled frequently through Asia and Europe. On one trip to Modena, Italy, in 1982, he produced a group of eight new paintings for an exhibition with the dealer Emilio Mazzoli that never ended up happening.
    Inevitably, with time, these works have made their own journeys across the globe. Just over 40 years later, they have all been reunited for the first time in a new show at Fondation Beyeler in the Swiss town of Riehen, near Basel.
    The typically expressive works each measure at least six-and-a-half by 13 feet and tend to focus on one solitary figure who is, in some cases, accompanied by a cow or a dog. Lacking any of the common motifs of the metropolis that Basquiat liked to employ, they seem to reflect his new, more provincial location. Some of the compositions had been spray painted over old canvases discarded by the artist Mario Schifano, and all are easily identifiable thanks to the inscription of ‘Modena’ on the back. As such, they can be viewed as one cohesive body of work.
    Basquiat was just 21 in 1982, but his star was rapidly ascending and that June he was the youngest artist to exhibit at Documenta 7 in Kassel. The year before, Mazzoli had given him his first solo show under his original alias of SAMO so, in early 1982, the artist gladly accepted an invitation from the Italian dealer to visit Modena and produce more works inside his warehouse studio.
    Looking back on the arrangement some years later, however, Basquiat compared it to “a sick factory. I hated it. I wanted to be a star, not a gallery mascot.” He was surely relieved, then, when Mazzoli had a disagreement with Basquiat’s New York gallerist Annina Nosei and the show was canceled. Nosei eventually sold the canvases, some of which went on to become his most renowned and highly valued.
    “Basquiat: The Modena Paintings” runs until August 27. Preview works from the show below.
    Jean-Michel Basquiat, The Guilt of Gold Teeth (1982). Photo: Annik Wetter, © Estate of Jean-Michel Basquiat, licensed by Artestar, New York.
    Jean-Michel Basquiat, Boy and Dog in a Johnnypump (1982). Photo: Daniel Portnoy © Estate of Jean-Michel Basquiat, licensed by Artestar, New York.
    Jean-Michel Basquiat, The Field Next To The Other Road (1982). Photo: Adam Reic, © Estate of Jean-Michel Basquiat, licensed by Artestar, New York.
    Jean-Michel Basquiat, Untitled (Woman with Roman Torso [Venus]) (1982). Photo: Robert Bayer, © Estate of Jean-Michel Basquiat, licensed by Artestar, New York.
    Jean-Michel Basquiat, Untitled (Cowparts) (1982). Photo: Adam Reich, © Estate of Jean-Michel Basquiat, licensed by Artestar, New York.
    Jean-Michel Basquiat, Profit 1 (1982). Photo: Robert Bayer, © Estate of Jean-Michel Basquiat, licensed by Artestar, New York.
    Jean-Michel Basquiat, Devil (1982). Photo: © 2023 Phillips Auctioneers LLC. All Rights Reserved.
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