This year’s Bushwick Open Studios were as sprawling and eventful as ever. After recovering from last weekend, we’ve taken some time to reflect and asked Hyperallergic editors and contributors to suggest a few artists, none of whom we’ve previously highlighted, to watch.
Many of the native plants in New York have been pushed out of the city’s concrete expanses, but that’s not to say the boroughs don’t have a botanic profile. Artist Ellie Irons has spent three summers cultivating and creating pigments from the invasive plant species that have taken root in vacant lots and urban gardens.
For those determined to see art in Bushwick off the beaten path, Outpost should be a staple. What’s so lovely about this space is that it seems centered around community and dialogue. The current exhibition, Hearts Gymnastics, curated by Yevgeniya Baras, is no exception.
The current joint exhibition Stone Dreams at apartment-turned-gallery ORGY PARK features the space’s founder/resident, Steve Mykietyn, and London-based artist Keef Winter.
People’s reactions to Bushwick Open Studios (BOS) generally fall into two passionate camps: those who love the event and those who despise it.
The landscapes of the body and of the universe collide in a series of new works at Marissa Perel’s solo show The Voyager, the inaugural exhibition of Pseudo Empire gallery in Bushwick.
It’s no secret that climate change and pollution are wrecking the planet. Many artists at the Bushwick Open Studios were internalizing the doom and visualizing the gloom.
Stepping off the L at the Morgan stop on Friday afternoon, the first thing I saw was two girls lugging giant canvases across the platform; just outside, there’s a pair of white humanoid busts surrounded by cans of spray paint, seemingly inviting passerby to contribute. The main event may be over the weekend, but Bushwick was clearly ready for the beginning of this year’s Open Studios.
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.
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 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.