Viewing a horde of 3D printers solemnly forming the same sterile shapes may have put me in a regressed mental state, but the sight of gleeful children swinging towards sheets of water that vanished right before contact struck me as beautiful. The aptly named “Waterfall Swing” by Dash 7 Design was the most oddly touching thing I saw at the 2011 Maker Faire New York in Flushing Meadows Corona Park.
The most commanding visual in Manfred Mohr: 1964- 2011, Réflexions sur une esthétique programmée at Bitforms gallery in New York isn’t one of the German digital art pioneer’s own pieces. Rather, it’s the scroll-size wall panel from Mohr’s solo show at the Musée d’Art Moderne de la Ville de Paris in 1971.
Maybe the name “float” welcomes the flood. After skipping the journey to Queens the previous Sunday due to the torrential rains, I finally made it to Socrates Sculpture Park two weekends ago for FLOAT: Field of Dreams, the fifth edition in the biennial series of “ephemeral and interactive art.”
Even the ambitious curators of Can’t Hear the Revolution at Kunsthalle Galapagos admit that revolutions tend to happen slowly. But that doesn’t mean they’re not determined. With the debut show for the new Kunsthalle Galapagos curators, they are fixing the roots of what they hope will grow into an initiative where, above all, art will have a purpose.
Kim Dorland’s paintings do not shy away from the brutality of love. Seizing on all of love’s untamed wildness, Dorland’s portraits of his wife are destructively passionate. Globs of oil paint are heavily dragged and slashed into works that seem made on pure impulse.
Lost in a Metro-North commuter train daze, I watched the Wassaic Project pass by the train window without recognizing it. But the giant slingshot and makeshift teepees that decorated the lush green grass next to a towering grain elevator hinted that artists and their ilk may be nearby. Inside, I would find works by Eric Fischl, Agnes Martin, Gary Hume, Richard Prince, Dieter Roth, Rebecca Horn, Gerhard Richter and Imi Knoebel … among others.
The Bronx Museum’s Artists in the Marketplace (AIM) program has helped emerging artists in the New York area navigate the business side of art since the 1980s. AIM is now celebrating its 30th anniversary with two joint exhibitions at the Bronx Museum and Wave Hill: Bronx Calling: The First AIM Biennial features 72 participants from the 2010-2011 program and the smaller Taking AIM on the program’s history. I recently journeyed up to the Grand Concourse for the Bronx Museum component of the show.
From L to R: Marianne Vitale, “Model for Burning Bridge (1)” (2011), reclaimed lumber, 68 x 18 x 22; Yamini Nayar, “Strange Event” (2009), c-print, 30 x 40; Leah Beeferman, “Journey into the unknown machines attempt a construction of the skies” (2010), digital animation with sound (All photos by author) Some people look at the […]
Art as a messenger of belief is nothing new. From the obvious ostentatious examples like the Sistine Chapel, to the much more ephemeral Buddhist sand mandalas, faith has often driven artistic creation. Yet, can art be a system of belief in itself? The artists in Architecture of Devotion at the Gowanus Ballroom definitely put a lot of faith in their own creative views as they all respond to this history of artistic devotion.
I’d been promised “enchanted landscapes, fantastic worlds, and strange encounters” and had already voyaged through wartime Italy, haunted hallways, Chuck Close’s art studio, and a seedy peepshow. Then I collided with all three at once. A sedentary carousel of animals and imps suddenly spun into a 3D zoetrope where the fiendish tiny people tried to stab giant snails and jumping fish and smash a bird’s eggs, while butterflies thrashed away to escape their missiles. A strange whirring, creaking noise accompanied the primal scene. It was perfectly otherworldly.
This past Every 2:ND Friday in Williamsburg was subdued, perhaps everyone is resting before this weekend’s Northside Arts Festival, but there were still quite a few shows galloping from crisp paintings to detritus-based installations
Never have I been so happy to see a portrait of Betty White. After three trains and two shuttles, and a few failed attempts to get a taxi, I was finally in Bushwick for the 2011 Open Studios.