The primary takeaway of Brand New at the Hirshhorn is its demonstration of how high the stakes of representation became during the 1980s, a decade of proliferating imagery and technology.
Last month, members of Colab gathered at Printed Matter for the opening of a new iteration of the A. More Store, the collective’s pop-up exhibit of cheap multiples. The display coincides with the publication of A Book About Colab (and Related Activities) (2015), a sumptuous collection of archival images and written accounts compiled by Printed Matter’s director Max Schumann.
Re-photographing (or re-purposing) the news media began for me as a healing ritual, a kind of laying-on-of-hands, to purge my despair over news events around the world.
Christy Rupp burst onto the New York art scene with “Rat Patrol,” a street art response to the sanitation strike of 1979.
Judy Rifka and I met 10 years ago, when I was selecting a work of hers for an exhibition. Her studio was dense with paintings, a testament to how prolific and energetic she is.
This show at James Fuentes, instigated by various artists associated with an exhibition in 1980 called The Real Estate Show, is a reconstruction of a spontaneous action that began in late 1979.
Sitting in a cold performance space in the gritty, graffiti-ed punk art institution, ABC No Rio, for possibly the final time before the building is demolished for renovations in March, watching the last Michael Alan’s Living Installation performance, I became profoundly worried that I was witnessing the last gasps of a long history of free-wheeling, punk, D-I-Y art.
Almost completely left out of the Jeffrey Deitch-organized Art in The Streets at LA’s Museum of Contemporary Art and minimally referenced in its exhibition catalogue and other recently published surveys of graffiti and street art, the historical importance of Fashion 时装 Moda МОДА has been lost to a generation of artists and graffiti-lovers. It’s time for that to change.