There was a week in high school when my mom begrudgingly let me stay out in New York City for almost three nights in a row.
Ever wondered what your childhood nightmares would look like if they met your adult nightmares? Well, take a peek at Monster, the latest installation of Providence, Rhode Island’s giant, horror-themed comic book.
Have you ever wondered why it’s so intriguing to explore an artist’s studio? Aside from their work, we get a glimpse into not only their artistic process but their valued possessions, inspirations and snippets of their lives. Input/Output pairs artists’ work with their personal collections. Exhibited at Booklyn, a small one-room gallery space in Brooklyn’s Greenpoint neighborhood, Input/Output feels intimate — actually less like a studio visit and more like a peek into the artists’ bedrooms.
Artists’ Book Not Artists’ Book, as the title suggests, is to explore the fine line between whether a book is an artists’ book or not. It all is more playful than that may sound.
Queer arts have been gaining momentum and paying healthy homage to history as they take root in Brooklyn. On the heels of an eventful December with World AIDS Day events throughout the city, Illegitimate And Herstorical opened at A.I.R. Gallery on January 5. Curated by Emily Roysdon (a collaborator with MEN and a founder of “feminist genderqueer” artist collective LTTR), Illegitimate And Herstorical is one of the strongest group shows culled from open-call submissions that I’ve seen of late.
One of the most difficult things to evoke in an art show is a snapshot of a culture. On the other hand, when I write about zines, I find it difficult to separate the object itself from the ephemeral culture that surrounds it. In Samizdat: The Czech Art of Resistance, 1968-1989, curator Daniela Sneppova brings American viewers in to the heart of a print-based resistance.
In the New York zeitgeist, you can’t have art without politics — especially not lately. As we enter the holiday season, strikes and marches continue throughout the city. Local and global politics are stoking creativity’s flames, and art has been a necessary backbone to supporting the Occupy movement. Last week’s lineup of art shows around the city made this marriage very clear, with the closing of MIXploratorium and the opening of War Is Trauma at Booklyn.
Zines — the independent publications Xeroxed most often by their authors and distributed by small, independent DIY networks — are known for their broad spectrum of topics. They can be about anything and everything, and my 24 hours totally attested to this.
Last Tuesday I made plans with a friend to visit Bluestockings, the bookstore on Allen Street in Manhattan, for the opening of OCCUPIED: Occupy Wall Street Art Show, featuring “Art and Culture from and for the 99%.”
Secret Project Robot hosted the 6th annual Prints Gone Wild fair November 4 and 5 in their new location in Bushwick.
Like all things punk, DIY cinema is a bit rough around the edges. But, isn’t that what makes it so much fun? Kicking off in midsummer with the release of Céline Danhier’s Blank City, punk films have been having a bit of a revival — and, while we’re at it — a reinvigoration.
This past June, artist and curator Aimee Lusty took over as Booklyn’s gallery director. Lusty proposed a program that promotes artists primarily working in print: each show she curated would include print artists showing fine art work, and each show would result in a zine catalogue with contributions and samples from every artist (a concept us at Hyperallergic are familiar with). Hunter/Gatherer, Booklyn’s most recent exhibit, features artists Evan Roberts, Jason Kachadourian, Jessica Williams, Jon Bocksel and Scott Meyers.