Alexis Clements


Excavating the Layers Under the Landscape

by Alexis Clements on September 16, 2016

Post image for Excavating the Layers Under the Landscape

ARLINGTON, Va. — The landscape paintings that taught me most about the form as a young person were the works of Albert Bierstadt and Bob Ross.

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It starts with the title: Outdoor Art. Simple, straightforward, you might think.

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The road that led to last week’s Brooklyn Community Forum on Anti-Gentrification and Displacement at the Brooklyn Museum was long and winding, but its starting point is very clear.

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A few years ago I was covering a panel discussion for Hyperallergic featuring members of Gran Fury, an ACT UP affinity group focused primarily on producing what group members themselves called “propaganda” against a government hellbent on isolating, vilifying, and smugly looking on as tens of thousands of their citizens died of AIDS.

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When I walked into the Greene Space for Creative Capital’s first Creative Conversations event — focused on artists who make work about criminal justice and the prison system — I felt a little skeptical.

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Within certain chambers of poetry in the past year, a series of incidents, specifically involving white poets presenting work that has been called out for its callous racism, has led to a great deal of debate on the internet and elsewhere.

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Bounded and unbounded space, continental drift, turbulence, topology, pools of ink and color spilling into and pressing up against one another — these are some of the images in the mix of work on display in Endless, Entire, one of two shows currently on view at FiveMyles in Crown Heights, Brooklyn.

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When I arrived early on opening night of this year’s MIX NYC festival at a former manufacturing space in Sunset Park, Brooklyn, I heard a rumor that there used to be a panty factory there.

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Early in koosil-ja’s new show I Am Capitalism, which ran at The Kitchen last week, she spoke through recorded voice-overs of a desire to acquire dances.

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Post image for Lively Artworks That Make Room for the Mind

There is this one particular color of paint that appears in many of the paintings by Etel Adnan on view right now at Galerie Lelong in New York.

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