New York is a city awash in information. If your body was a receiver can you imagine how overwhelmed by senseless Facebook updates and spam mail it would be? It goes without saying that the more connected we are the more unavoidable digital reality becomes. This does not exclude the white walls of the art gallery. Artie Vierkant’s first solo exhibition Image Object at Higher Pictures on the Upper East Side is proof of this.
I think it’s funny that Patricia Albers’s recent and authoritative biography on Joan Mitchell was given the subtitle “Lady Painter.” It’s my only guess that Mitchell’s lifestyle and her painting were so out of character for the time that the term becomes ironic. The artist was known for her camaraderie with Cedar Tavern macho dudes like de Kooning and Pollock, her hangout sessions with beatnik poets, her ability to party, and her tendency to drink and sleep around with bravado. At the time these activities and attitudes were thought to be reserved for men. Mitchell gradually carved out a space for her paintings to be given the same treatment.
How many hours do you spend a day looking at cat picture on the internet? The fact is our already media saturated lives are constantly becoming more image dependent. We shape much of our lives based upon the associations and decisions we make on the internet. Whether we are seeking information or shopping on eBay it is no secret that we rely more and more on stock images. It is this reality that informs artist Kate Steciw. Her current exhibition Boundless Hyper is on view at Toomer Labzda Gallery in the Lower East Side.
There are many an artist who dedicate themselves to subverting the commodification of their own work and the current exhibition at Nurture Art, Is This Free?, addresses the topic with a three-part summer exhibition.
Curated by Scott Hug, B-Out at Andrew Edlin Gallery, weaves together over 100 artists into an imaginative installation that illustrates a partial and subjective history of what it means to create outside the norm.
One of the founding members of the often praised Ridgewood/Bushwick space, Regina, Rex, has gone Manhattan with a new gallery on the Lower East Side, Eli Ping.
Last weekend, while rummaging through the Lower East Side what I needed was a life boat, something to transport my mind away from the sticky, forsaken confines of my sweat drenched body. What I got was Someone Has Stolen Our Tent at Simon Preston Gallery.
I recently went to see the work of Regina Bogat at Art 101 in Williamsburg, Brooklyn. As documented in an interview with Hyperallergic’s Jillian Steinhauer earlier this month, the artist has been hanging around the NYC art establishment since the 1950s.
On my last trip to Chelsea, hoping to find something unusual, I was largely disappointed. Making my way through the crowded beehive gallery building at 526 West 26th Street, I felt doom encroach upon my heart, as each show struck at me with numbing sameness. Then, I suddenly and happily stumbled upon a glaring abnormality: The nonprofit Art Bridge has opened a small “drawing room” in what used to be a broom closet. The exhibition space is beyond small, but it offers a refreshing retreat from its flashier, disappointing neighbors.
I live in Bushwick. I don’t have a hip loft and there are no artisan flea markets, coffee shops or health food stores. Out by the cemetery, in what is technically Bushwick, but is a stone’s throw from Bed-Stuy and East New York, I naively assumed I was a lone outpost of the art world. I couldn’t have been more wrong.
Jenna Spevack’s current exhibition at Mixed Greens seems take a shot at this popular preoccupation. Eight Extraordinary Greens is part public service announcement, part experiment in farming and part installation.
Last weekend I visited Regina Rex in Ridgewood, Queens, and it felt like a relief to be able to spend time in a gallery that also inhabits a studio building, which means being surrounded by artists rather than dealers.