Support Hyperallergic’s independent arts journalism.
Those arriving at 17-17 Troutman today may have been surprised to find a small canopy out front advertising free refreshments consisting of dry cookies and minuscule cups of water and lemonade, compliments of the building’s seemingly agreeable management, “David Steinberg and Crew.” But beyond the stunning views of the Manhattan skyline offered by its elevated Ridgewood locale, landlord turbulence is threatening 17-17 Troutman. Despite the rocky fate of many key tenants, an impressive array of participation was on hand for this year’s Bushwick Open Studios. From hard-edge geometric abstraction to messy paintings to video works and photography, the range of the output was vast, and the quality often surprising. Though crowds were thinner than at the centrally-located 56 Bogart, which offers strong galleries but weaker studios, 17-17 Troutman remains a veritable juggernaut, one whose standouts, enumerated below, can hold their own with any studio building in New York.
Bushwick Open Studios continues at 17-17 Troutman (17-17 Troutman Street, Ridgewood, Queens) through Sunday, June 1.
Josué Rojas came from El Salvador as a toddler, and his family settled in the Mission.
For a fleeting few hours, a procession of boats on the Grand Canal reenacted the full pomp and pageantry of 15th-century Venice.
The intricate patterns and strategic colors of the linens used on mummified remains have only begun to be understood by humanists, museum specialists, and chemists working together.
With films touching on protest in France, China’s one-child policy, and Indigenous life in Canada, the 2021 Currents program stays both culturally and politically forward-thinking.
In The Contest of the Fruits, the art collective Slavs and Tatars investigates language, politics, religion, humor, resilience, and resistance in a pluralistic world.