The program for Rashaun Mitchell’s Nox contains a lone explanatory note: “When my brother died I made an epitaph for him in the form of a book. This is a replica of it, as close as we could get.” The words belong to the poet Anne Carson, and they come from the back cover of her eponymous book, published in 2010. They make you wonder: Is what we’re about to see a replica of that book, in the form of a dance, as close as the artists could get? A replica of a replica?
Upstairs from “Larry,” in the Carlyle Galleries Building at 980 Madison Avenue, Adam Lindemann’s latest art toy, Venus over Manhattan, was unveiled to the press Wednesday morning.
Dirt is getting its moment in the sun. A cluster of recent shows in Chelsea and downtown make the most of soil, making it a good time to think about earth art again.
In unofficial conjunction with the inauguration of Frieze New York on Randall’s Island, the galleries on Chelsea’s 26th Street decided to go big and throw a block party last Saturday. If there is one kind of party that galleries excel at, it’s glamorous and exclusive after-hours functions, on a rooftop suite somewhere far above the streets of Chelsea; if there’s one area where galleries are found unanimously wanting, it’s dealing with the public, with “regular” people, the viewers who venture through their doors simply to look and not to buy. Considering this, it was surprising and encouraging to see high-end Chelsea galleries reaching out, in a coordinated effort, to the art-going public.
Last weekend I visited Regina Rex in Ridgewood, Queens, and it felt like a relief to be able to spend time in a gallery that also inhabits a studio building, which means being surrounded by artists rather than dealers.
The massive Frieze art fair landed on Manhattan’s Randall’s Island and not everyone was happy. Pro-union protestors and members of Occupy Museums showed up to protest but they were pushed so far away that you have to wonder if anyone noticed.
Relocating its New York edition from Armory Week to join Frieze Weekend, the 2012 Pulse Art Fair offered itself as an accessible companion to the bigger fair action on Randall’s Island, both in terms of location and the art presented.
The content of Strauss’s individual photographs is not always disturbing, but paging through the entirety of 10 Years means talking a walk through neighborhoods and into situations that you might otherwise avoid.
Last month, the UK-based novelist Graham Rawle gave a lecture at Antenna Media Centre in Nottingham called “Writing with Scissors.” Writing with scissors — a synonymous phrase for textual collage — would seem to aptly describe the compositional process of Woman’s World, Rawle’s handsomely designed and cleverly concocted novel that was first published in Britain in 2005.
The reemergence of Pocket Utopia — not in Bushwick but on the southernmost lip of Manhattan’s Lower East Side — in partnership with the uptown fine prints and drawings dealer C. G. Boerner, might strike some as an offbeat, even aberrant choice. But having gotten to know Austin somewhat after writing about her solo show at Storefront in 2010, it made sense to me that she wouldn’t attempt to repeat herself.
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