In its fourth year, Spring/Break Art Show is temporarily transforming the disused offices of Moynihan Station into an art fair based on the theme of “transaction.” With more than 80 curators and over 100 artists, it’s more a series of microshows than the other fairs opening this Armory Week, ranging from solo installations to eclectic group exhibits.
This is Spring/Break Art Show’s first year out of the Old School on Mott Street in Nolita, which is for planned conversion, of course, into condos. Moynihan Station is also in the midst of its own conversion, but the old office spaces still have their glass-windowed doors, wood-paneled walls, and ripped up carpets. Spring/Break Art Show officially opened on two floors of those offices today after yesterday’s previews, although there’s been a bit of early internet attention for Dustin Yellin’s paintings made with the shredded remains of $10,000. Visitors can now contribute to said destruction and future art in a chaotic space created by the Bazaar Teens who are heading the monetary mutilation. While money is the most obvious link to the theme of “transaction,” including roses of currency and barbed wire by Margaret Bowland and a broom of dollar bills by Mark Wagner, there is also some work centered on the exchange symbolized by Moynihan Station itself. The James Farley Post Office has operated in the building since 1914, and work by some artists, like Riitta Ikonen’s assembly of mailed objects (ping pong paddle, pieces of shelving … ), recalls this century of use.
The art is all over the spectrum. A pounding light and sound installation by Visualpilots, an immersive cloud projection piece by Christine Sciulli, and Fall On Your Sword’s uncanny “Greed Is Good” video playing on an orb encircled by a carousel of empty bottles are all engaging new media works. A large-scale collage piece by Adam Parker Smith, astronomy-inspired metalwork by Steven Pestana, a kinetic pile of painted treadmills by Brent Birnbaum, and futuristic totems of stone and feathers by Christian Berman are also all standouts. On the other hand, the inclusion of Brian Whiteley’s attention mongering clown performance piece, which somehow got the media to pick up on his lurking in a Brooklyn cemetery last year, has a room full of clowns that feels more like spectacle.
Below are photographs of some highlights from this year’s Spring/Break Art Show, which continues through this Sunday.
Spring/Break Art Show continues at Moynihan Station (West 31st Street and Eight Avenue, Midtown West, Manhattan) through March 8.
The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.
How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?
An expansive exhibition on Adeliza McHugh’s influential Candy Store Gallery celebrates the whimsical, irreverent aesthetic that put California’s Sacramento Valley on the art-historical map.
With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.
As we begin a new year, a small moment on Queer Eye makes me think about the profound effect our stories can have on each other.
Each fellow in this 10-month intensive in New Haven, Connecticut, will receive studio or office space, subsidized housing, and a generous stipend.
Some have criticized the racist monument’s planned relocation to North Dakota, near land seized from Indigenous people.
A group called the Boriken Libertarian Forces toppled the monument hours before King Felipe VI of Spain’s visit.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Still resonating with relevance, William Gropper’s incisive cartoons in defense of the WPA go on auction at New York’s Swann Galleries together with other works by celebrated WPA artists.
Archeologists excavating in Nijmegen, the Netherland’s oldest city, found the bowl in pristine condition.
A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.