Seung Mo Park’s studio at 56 Bogart was opened for another year, and this time the display was more surreal and extensive than before. (all photos by the author for Hyperallergic)
Tonight’s hot weather drew throngs of visitors to the galleries of Bushwick, which kicked off the 2013 Bushwick Open Studios event. Tomorrow, artist studios will be the focus of everyone’s attention, but tonight galleries across the neighborhood, including at least three new spaces (Silver Projects, Lorimoto, and Harthaus), attracted hundreds of visitors eager to enjoy the good weather and celebrate the community-wide festival.
Here is some of what I saw.
A visitor watches a video at Chloë Bass’s The Bureau of Self-Recognition exhibition at Momenta Art.
Another corner ofThe Bureau of Self-Recognition show.
A view into Mellow Pages Library at 56 Bogart.
The Pratt graduate student show at 56 Bogart, Fireproof.
Paul McLean’s Dim Tim exhibition at Slag Contemporary.
A view of the Andrew Seto show at Theodore Art.
Andrew Seto’s “Frühstük” (2013) at Theodore Art.
Works by Antoine Lefebvre at Nurture Art in 56 Bogart.
Jiwon Choi’s “Infinity as Dots, Black” and “Infinity as Dots, White” at CCCP gallery at 56 Bogart.
Photographs by Louise Barry, Lisa Elmaleh, and Victoria Manning were part of Silver Projects inaugural show. The gallery explains that they will focus on “analogue photography, film media, light sensitivity, black and white, halftone, grayscale, second place, near misses, and failed attempts.”
Some photographs by David Crespo of the Non Grata performances late last year at Grace Exhibition Space.
Photographer David Crespo taking a photo of me in his gallery of photos of the Non Grata performances at Grace Exhibition Space.
The streetscape outside the brand new Lorimoto gallery.
A view inside Lorimoto, with Nao Matsumoto’s “Remote Controlled Referee” (2008) at center.
Peter Lapsley’s “The Elder” (2012) at Lorimoto gallery.
Artist Janel Schultz was one of the only artists who opened her studio during Friday night’s gallery openings. Her fabric wall sculpture included screenprinting, collage, and paint.
Works by Eve Lateiner and Yevgeniya Baras at Bull and Ram.
An untitled work by Eve Lateiner at Bull and Ram.
An installation view of the Mathieu Lefevre solo show at Regina Rex, including the recreation of an arc designed by the deceased artist.
Two works by Mathieu Lefevre at Regina Rex. Left, “Wä Wä Wä Wääää” (2011), and bottom right, “Take Out” (2008).
Mathieu Lefevre’s “History of Painting” (2009) at Regina Rex.
A view of the What I Like About You opening at Parallel Art Space.
Artists Rachel Beach and Julie Torres chat at the opening of What I Like About You at Parallel Art Space. The show was organized by Torres and asked international artist to choose a work Brooklyn artist and explain why they choose that particular piece.
Some of the works at What I Like About You at Parallel Art Space.
The new, and potentially temporary, Harthaus gallery opened its doors. It featured works by (left to right) Ellen Lechter, Timothy Hull, and KKORY.
Works by Deborah Hilert and Carla Avruch (far right) at Harthaus.
Works in the garage gallery at Harthaus by Stephen Truax (on left) and Jessica Ralli (center).
The main room for the Bushwick Art Book and Zine festival at Schema Projects.
A view of the back gallery for the Bushwick Art Book and Zine festival at Schema Projects.
Fern, the dog, sitting in the main gallery at Norte Maar surrounded by dozens of portraits of her by local artists. The show is titled Portraits of Fern.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.