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      When the Fairy Tale Never Ends in New York

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      January 19, 2011 - February 18, 2011


      Floors 19 – 20
      New York, New York 10019

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      When the Fairy Tale Never Ends

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      (New York, NY) Altpoint Capital Partners, parent company of Ford Models, is pleased to announce that the inaugural exhibition at its new contemporary art space fordPROJECT will be When the Fairy Tale Never Ends curated by Lara Pan. The exhibition will open to the public on January 20, 2011 and will include works by both established and emerging artists including Michaël Aerts, Eleanor Antin, Valentina Battler, carballo-farman, Henry Darger, Wim Delvoye, Braco Dimitrijevic, Eagleton-Enright, Kent Henricksen, Natacha Ivanova, Robert Lazzarini, Panni Malekzadeh, Vincent Olinet, Gretchen Ryan and Kenny Scharf. Pan will take over fordPROJECT's dual-level penthouse located at 57 W 57 (a historic Warren + Wetmore building) to create a rich environment that explores the concept of fairytale and myth as they merge with the realities of contemporary life.

      The title of Pan's show is derived from overarching themes of beauty, intrinsic value, the transgressive quality of fairytales in contemporary culture and the often unrealistic adolescent expectations for an idyllic life. In exploring these themes Pan highlights that certain archetypes have morphed over time, some in subtle ways and others quite drastically. An example is Eleanor Antin's The Little Match Girl Ballet, a 26-minute performance piece captured on video in 1975 in which the artist, dressed in a tutu, entertains a captive gallery audience with a monologue explaining her strategy for becoming a famous ballerina. Antin's performance is the physical manifestation of the sociological pressures that women face in modern western society. In Caraballo-Farman's video installation Midnight we see Cinderella magically changed from princess to pauper at increasing speeds leaving the viewer to wonder if, like Antin, Cinderella's transformation is naive fantasy.

      Three works in the exhibition draw immediate parallels between the youthful feminine notions of an idyllic life and the harsh realities many women face worldwide. In the aptly titled Girls in Peril, Gretchen Ryan depicts two young children in frilly pageant costume and make up standing in an apocalyptic landscape with no guardian but a tiny Chihuahua. The image is evocative of little girls performing in pageant competitions but there is also a pedophilic component to these toddlers made up as women especially when we consider the disturbingly direct gaze of the older child. Panni Malekzadeh is more overt in her sexual commentary with Peep Show, a large pastel colored depiction of the interior of a brothel, with the overlay of a neon sign advertising live girls, a reminder of the sordid realities of the sex industry. What is most disturbing in the neon outline is a toddler playing with a doll alongside the advertisement for sexual entertainment. Children's fantasies feature strongly in Robert Lazzarini's distorted Nursery Wallpaper. Lazzarini distorts the vintage wallpaper depicting lambs, butterflies and kittens, signifying, according to the artist, that adult life doesn't always adhere to our youthful expectations.

      More lighthearted is Kenny Scharf's Junglasia a colorful painting that gives the viewer direct access into the artist's fantastical imagination. The jungle inspired painting is otherworldly and consistent with the surrealist style that Scharf has perfected over the course of his career. The painting generates positive emotional response and harkens back to familiar childhood images of smiling cartoon characters. On the opposite side is Kent Hendricksen's image of two headed angels and snakes surrounded by images borrowed from Paradise Lost.

      Another concept explored in Pan's exhibition in the concept of value. As our culture becomes increasingly obsessed with material possessions and fame and fantasy shifts from dreams of being a fairytale princess to dreams of becoming a celebrity, many artists working today have documented and commented upon this shift in their work. Michaël Aerts air cargo trunks fashioned into an obelisk underscores the emptiness of contemporary empires. Similarly Eagleton-Enright's vase contains an answer to a universal question. Engraved on the inside of the vase, the answer is only attainable if the vase is broken - inherently destroying its monetary value. Artist Wim Delvoye describes his tattooed pigs as "living piggy banks" - as the pigs grow and the design changes and expands the investment value of the work also changes. Vincent Olinet's massive gilded crown Notre époque a la poèsie qu'elle mérite is oversize and garish in every sense, made of brass and semi precious stones its most important feature is its sheer size. The value is not in the materials or what it signifies, making the translation to "our time has poetry it deserves" particularly poignant.

      About fordPROJECT /

      fordPROJECT will launch in January 2011 as an exclusive gallery space designed for site specific installations, exhibitions, artist commissions, art collectives, curatorial programs, collaborative initiatives, unique events and more. Under the direction of Rachel Vancelette and Tim Goossens, fordPROJECT will present a unique alternative to the traditional fine art models and will offer innovation for artists, curators, collectors, organizations, institutions and estates.

      Categories: Art Galleries & Exhibits

      Event details may change at any time, always check with the event organizer when planning to attend this event or purchase tickets.
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