
For two years, multi-instrumentalist Andrew Bird and aritst Ian Schneller have been planning a "sonic arboretum" of different-sized horns.
"The horns kind of evolved from being more this Victrola aesthetic to more a plant-like shape, some sort of prairie flowers, kind of facing toward the sky," said Bird, in an interview in advance of his performance at the Guggenheim Thursday night. "So I kind of like this idea of possibly modeling different environments through these horns. I'm interested in the acoustics of different environments: If you're in Zion National Park and you're surrounded by these canyon walls and these trees, what kind of sounds fill this space? Or if you're in a field of soy beans, what does that sound like?"
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Jean-Michel Basquiat: The Radiant Child, out in select theaters today in New York, draws on before-unseen footage of filmmaker Tamra Davis in conversation with the artist, and new commentary from Basquiat's contemporaries and supporters, among them Julian Schnabel, dealer Bruno Bischofberger, and longtime girlfriend Suzanne Mallouk.
The documentary also revisits what was once thought to be the only existing video-taped interview with Basquiat, short clips of which feature in Radiant Child: a 1982 interview at Basquiat's Crosby Street studio, conducted as part of a program on "Young Expressionists" by the video magazine ART/new york.
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Russian art center owner and heiress Maria Baibakova is racking up frequent flier miles these days, not that she needs them. (Her father is mining oligarch Oleg Baibakov.) While traveling this year, the 24-year-old founder of Baibakov Art Projects, a private, non-profit contemporary art center in Moscow, has scoped out art scenes in India; Cairo, Egypt; the UAE; and Cape Town, South Africa. Baibakova said she sees similarities between developing art scenes in the places she's visited and in Moscow, a city that's not exactly thought of as a contemporary art destination, though Baibakova would like to make it one. One similarity: a need to cultivate better-informed audiences.
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