In the last several years, the term “pop up” has become ubiquitous in the art world. The majority of these related, newfound endeavors — brief exhibitions, stores and happenings — make charming use of relatively sparse, small storefronts. In this vein, I’ve come to expect a bit of space-maximizing ingenuity from the pop-up crowd. And yet I couldn’t have been more pleased to find the exact opposite at No Longer Empty’s latest temporary exhibition, This Side of Paradise. The sprawling show occupies more than 20 rooms of the abandoned Andrew Freedman Home in the Bronx and takes its name from F. Scott Fitzgerald’s first novel, a fitting tale of greed and social ambition.
MoMA’s latest thematic exhibition Print/Out aims to examine the ways printing has expanded and molded contemporary art practice. Is it successful?
This week I had the opportunity to check out the newest exhibition at Brennan and Griffin Gallery, “Guy Goodwin: Recent Works.” It’s one of those exhibitions you feel good about from the moment you enter the room.
Lebbeus Woods is probably the most famous architect you’ve never heard of. Although, perhaps the word architect is limiting. Since the beginning of his career at a number of highbrow firms in the 1980s the architect, theorist and (I will venture) artist has weaved his off kilter brand of design in and out of a variety of mediums. He has become most famous for his temporary installations, pavilions, interventions and proposals that play with existing spaces, designs and systems.
The beginning of January marked the opening of Hoodwinked, a two-man show featuring Richard Prince and Mike Kelley at Nyehaus gallery in Chelsea. I had the pleasure of visiting the exhibition several times and the unnerving but positive opportunity to revisit it after the artist’s death, as the gallery extended the exhibition in lieu of the circumstances.
I recently curated an art show at Number 35 Gallery on the Lower East Side. I am admittedly a frequent and outspoken critique of the curatorial process. I’m the first one to harp on a curator, perhaps, admittedly, to the discredit of what is often times totally great artwork. I would feel hypocritical if I didn’t address the process myself.
This week, the guys over at NYPL Labs launched their Stereogranimator, which promises to revive interest in the 40,000-strong vintage stereograms in their collection.
Indian artist Navin Thomas recently recieved a bunch of press for winning the SKODA prize for Indian contemporary art. Unfortunately his latest sound installation at Lalit Kala Akademi in New Delhi is garnering attention for an entirely different reason.
Yesterday marked the beginning of MoMA’s newest educational program Print/Studio. The printmaking studio and workshop program plans to engage visitors with various processes of printmaking, and it was organized in conjunction with the museum’s upcoming Print/Out exhibition.
The Nelson-Atkins Museum of Art and the Detroit Institute of Art (DIA) have made an unusual announcement. Kansas City’s Nelson-Atkins will be purchasing 25% of the curator Nii Quarcoopome’s time from the DIA.
Looking back on this and other years my biggest objection is perhaps how much I have taken for granted. With that in mind here are 5 hopeful resolutions for this author and the art world in general.
Mark Warren Jacques’s paintings are equal parts pop and mysticism; they linger between the monastic the psychedelic and party time. A Portland-based artist, his works assert themselves with a clearly defined West Coast swagger. They beam light straight into your head, they knock you down with colorful brilliance only to offer you a leg up and a wholehearted wink.