From hard-edge geometric abstraction to messy paintings to video works and photography, the range of the output was vast, and the quality often surprising. Though crowds were thinner than at the centrally-located 56 Bogart, which offers strong galleries but weaker studios, 17-17 Troutman remains a veritable a juggernaut, one whose standouts, enumerated below, can hold their own with any studio building in New York.
Crowds flocked this Saturday to 56 Bogart Street, one of the main stops on the Bushwick Open Studios circuit.
The soapbox derby is fine-tuned American nostalgia (or was it tradition?), a rugged pursuit combining patrilineal bonding with the values of shopworn ingenuity and competition.
Opening night of the 2014 Bushwick Open Studios took place on a cool May night, and thousands of people were bouncing between art spaces, bars, restaurants, and private studios to meet friends, share stories, and talk about how much the neighborhood has changed.
In part 2 of this month, reviews of Drive-By-Truckers, The Hold Steady, and Sierra Leone’s Refugee All Stars.
Perhaps the most prolific exemplar of free-spirited collaboration from the New York art scene of the 1960s was the painter George Schneeman, the unofficial artist-in-residence of the Poetry Project at St. Marks Church from its earliest days.
John Avelluto’s artworks — we’ll call them paintings for the sake of convenience — take trompe l’oeil places it was never meant to go. By turns exercises in mind-boggling craft and mind-twisting formalism, they repeatedly abrade the boundary between the hyperreal and the micro-minimal with their tough, exultant, inscrutable beauty.
In the late 1970s and early 80s, Meryl Meisler, then a young photographer and self-described club kid, began documenting the bacchanalian nightlife of the city’s most notorious downtown clubs. In the early 80s, as a New York public school teacher, she also started photographing the near-total devastation of Bushwick, Brooklyn, a neighborhood looted, burned, and abandoned by the city and its landlords.
One of the group shows I was most anticipating during the 2014 Bushwick Open Studios was Communal Table, a group show curated by artist Björn Meyer-Ebrecht, and last night I attended the early opening to discover that it was most certainly worth the wait.
LOS ANGELES — In an age when stories are regarded as “impressions” and TMZ serves a source of reportage, how does a four-hour 18th-century comedic opera manage to be relevant and interesting? The Los Angeles Philharmonic has reinvigorated the genre by inviting luminaries in architecture and fashion to add their take to the story.
LOS ANGELES — The self-titled exhibition and zine release Bitches Rule, Cycle 3 is nestled in the back of & Pens Press, an art bookstore in Culver City set to become a roving/pop-up shop and online gallery come June 2.
The Metropolitan Museum of Art opened an exhibition on the Pre-Raphaelites of the 19th century last week, with 30 pieces showing wistful figures in draped clothing often surrounded with flowers. But while the floral touches might seem like colorful accents to us, to Victorians there was a language in the flowers.