The Flux Art Fair, which is only in its second year, has done something boldly innovative with the art fair format: created a scheme of public works placed throughout Harlem’s parks and boulevards. Throughout the month of May, Flux is presenting more than 40 site-specific installations, what they term “interventions” (which, as far as I can tell, are app-based digital works), music, artist performances, panel discussions, and tours. The fair for the most part is concentrated in Marcus Garvey Park, with some satellite works at the Harlem Art Park, Malcolm X Boulevard and 124th Street, Fifth Avenue from Marcus Garvey Park to 129th Street, and the Harlem Grown Farm.
To launch what the Flux Fair calls the Flux Public Art Projects, the founder of the Flux Fair, Leanne Stella, partnered with several key institutions: the Harlem Community Development Corporation, the Marcus Garvey Park Alliance, NYC Parks, and the New York City Department of Transportation Art Program. The key motivation for this coalition seems to be their concern with nurturing a robust civic engagement through public art in the Harlem community. This has been a longtime hope for Harlem. However, the works presented are very much of the current moment politically and aesthetically. Over half the artists are women, there is a range of ethnicities represented, and perhaps most potentially challenging to the members of the community who don’t typically take in public art: all the work is contemporary and little of it representational.
The overarching conceit of the program is the idea of “changing landscapes,” a theme wide and deep enough to essentially give the artists a blank slate with the prompt “surprise me” written below. The artists responded with a range not just of materials and aesthetics, but of vision. Some changed the landscape, some created symbols defying a certain kind of change, and some imagined the community already transformed. Here is a sample.
The Flux Art Fair continues until May 31 at various locations around Harlem, Manhattan.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?
Critical race theory, which has been attacked by conservative lawmakers, is conspicuously absent, as are many contemporary and living Black artists.
“Dignity of Earth and Sky,” unveiled in 2016, raises questions about who should depict Native people and how they should be portrayed.
In this online exhibition, Indigenous artists reclaim realities long denied them by US and Canadian federal governments — including moments of collective reverie.
At this year’s Sundance International Film Festival, more than half the feature-length movies were made by directors who identify as women.
In her novel Tell Me I’m an Artist, Chelsea Martin questions whether art offers a refuge from the world.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
The US government has lifted a Trump-era ban that kept formerly imprisoned people from accessing their works.
A work of art will be on the line when the Philadelphia Eagles play the Kansas City Chiefs this Sunday.
With two exhibitions at SoFi Stadium, the Kinsey African American Art & History Collection seeks to engage a different art audience.
The works that best exemplify a uniquely German grotesque in Reexamining the Grotesque are those that reflect the war and Weimar years.