DENVER — Flown in from Dubai, an enormous collodion camera dominates a corner of Denver’s Robischon Gallery. The apparatus belongs to artist Halim Al Karim, whose show of ghostly portrait photographs is an unlikely meeting of 19th-century photo processing techniques and a personal reflection on his artistic exile from Iraq.
On a muggy Saturday afternoon, a crowd of modern dancers in tie-dye shirts, clown-glam costume wearers, bemused children, art-aware observers, and curious members of the general public gathered on the parade ground of Governors Island. As the assembled mob grew, a tweet was read aloud, a command: “Prancercise meets Pina Bausch then fast forward yoga alternating with slo-mo dog panting.”
Stocked with Havarti cubes and iced kegs, Bushwick artists swept up and opened their doors to the public this weekend for the 2013 Bushwick Open Studios (BOS). Air-conditioned workspaces became premium real estate as the festival’s seventh incarnation, hosted by nonprofit Arts in Bushwick, welcomed large crowds along with hot weather.
Imagine for a moment that in the days after Johannes Vermeer’s death in 1675, that his widow Catharina and eldest daughter Maria, sitting in a darkened room of the Vermeer home, conspired to settle their numerous family debts in a secretive way. Owing their baker the largest sum of money, the widow and her daughter would give up two of the Master’s last paintings to settle their debt. In a theory developed by Cooper Union art history professor Benjamin Binstock, the two debt-settling paintings were actually the work of the daughter, Maria Vermeer.