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Posted inOpinion

Required Reading

This week, death of the gallery show, Ellis Island closed, Sharjah Biennial opens, Abramović reflects on the beauty of a glass of water, problems for looking at art with Google, NYPD is tracking criminals using photos on social media, the corporate role in the Harlem Shake, and more.

Posted inArt

Catherine Murphy’s Challenge

This is Catherine Murphy’s first exhibition with Peter Freeman — and the inaugural show of gallery’s large, new space (March 14–April 27, 2013). Although Murphy has been showing regularly in New York since the early ’70s, this is the first time that she has had a space big enough to comfortably display her work, a multi-panel work like “Knots” (2009), a suite of 15 modestly scaled paintings, along with more than a dozen paintings and drawings, with the largest painting ranging six feet in height or width. I felt like the work finally had space to breathe.

Posted inArt

Mind Electric: Edward Avedisian

I met Edward Avedisian by chance at Max’s Kansas City when I sat down next to him at the bar. Otis Redding filled the air. “You know,” Edward turned to me and said, “Ultimately what pop-music is all about is hiring someone to cry in public for you.” He watched for my response, eyes alert beneath his remarkably high forehead. I would come to know that ‘ultimately.’ It was a regular conversational preface, because, as Edward later explained, it was his desire “to describe everything without reference to any convention.”

Posted inOpinion

Previously Unseen Photographs and Basquiat Ephemera Come to Light in a New York Apartment

Alexis Adler has one of the world’s greatest troves of 1980s art in her apartment — doubly true because the art is her apartment. She “had relations” with Jean Michel Basquiat, as she says in a short documentary by Animal New York, and though they weren’t quite boyfriend and girlfriend, Basquiat did decorate their shared apartment with murals and store years’ worth of his sketches and ephemera in the East Village space.

Posted inArt

The Anti-artist-statement Statement

I hate artist statements. Really, I do. As an artist, they are almost always awkward and painful to write, and as a viewer they are similarly painful and uninformative to read. I also don’t know who decided that artists should be responsible for writing their own “artist statement.” Maybe it was an understaffed gallery in the 1980s, or a control freak think-inside-my-box-or-get-out MFA program director, but regardless of how this standardized practice came to be, the artist’s statement as professional prerequisite (at least for artists who have yet to be validated by the established art world) has long overstayed its welcome. And I don’t think a new one should be required in its place.