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If people were complaining that The Independent was a scene with its cooler-than-thou veneer of globalization and slightly aloof exhibitors and audience, than they probably hadn’t seen The Dependent art fair, which was the dictionary definition of “art scene.”
For four hours on a Friday night, two floors (12th & 14th) of the Four Points Sheraton hotel on West 25th Street was transformed into an art fair for 16 galleries from near and far. These staples of the downtown scene (which nowadays means Manhattan’s Lower East Side, slices of SoHo, all of Brooklyn and pockets further afield) staged their own hotel room fair as if to seemingly prove how much they could pack two floors of this non-descript small-ish Chelsea hotel.
It was hard to see much of the art and the hallways were packed enough to make you scream, but I tried to see every room (sometimes I failed).
Cleopatra’s gallery was the most successful at transforming their space into an Afro-orientalist fantastia, complete with wandering actors draped in full body patterned garb. Recess was the most atmospheric and used the room effectively as a frame for the performance itself, and Reference gallery used the opportunity to lay out all the art merchandise they could order or make to pimp out their brand or that of their artist, Reid Ramirez.
The art fair was also the site of a first for me. I met someone who I first encountered on Chatroulette (fully clothed, if you were wondering) and, well, that was the type of night and crowd it was.
When I arrived I was able to go straight up to the exhibition rooms but by the time I left there was a line from the elevators outside the hotel and starting to snake past a neighboring building. Did I mention I hate hotel room fairs? Hopefully by next year this crew of scrappy spaces will find a better venue for their wares.
Tabitha Arnold’s rugs pay tribute to organizers who lay their bodies on the line in the workplace, in the public square, and in the depths of private prisons.
The intentionality of Booker’s abstraction gives me the impetus to discuss something about the current zeitgeist that’s been on my mind for a while.
Large-scale installations by artist and adobera Joanna Keane Lopez and olfactory-acoustic sculptures by Oswaldo Maciá will be on view starting October 1.
After years in the making, New Time opens at the Berkeley Art Museum and Pacific Film Archive.
The museum details the process of moviemaking, from its inception in storytelling all the way to its marketing. But interwoven into these exhibits are ugly truths.
Over 125 artist studios, galleries, and exhibition spaces open their doors to the public for this year’s Jersey City Art and Studio Tour, taking place from September 30 through October 3.
The former panels, removed in 2017, featured images dedicated to Confederate Generals Stonewall Jackson and Robert E. Lee.