Enter Transfer gallery and your entire field of vision is instantly taken up by a vast screen, measuring 10 by 10 feet, nearly the width of the room.
Artists and photographers are up in arms over a website that is selling cheap posters and prints of their work, without their knowledge or permission.
Everett Kane and I got inspired to revisit the “Tree-Man” in the “Hell” panel of Hieronymus Bosch’s “Garden of Earthly Delights,” whom some people claim is a self-portrait.
It’s hard now to go more than a couple months without stumbling across another exhibition showing “artists [who] question the boundary between art and technology.” It’s enough to make you never give another crap about the boundary between art and technology. But I’m not sure the artists involved in such shows really do either — at least not the ones in Coded After Lovelace.
Last night’s opening of the Emoji Art and Design Show was a light-hearted celebration of those pictograms that have crept into our conversations and lives in every which way. The exhibition felt more design than art, and the pop-up marketplace featured a number of — you guessed it — emoji-related products.
Art and poetry should be natural allies, but it’s surprisingly rare to see both commingle as naturally as they did at a recent show at Transfer Gallery in East Williamsburg by Carla Gannis and Justin Petropoulos.