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.