An oversize facsimile of Rush poppers, tipped over, pouring out its viscous contents: this example of underground gay iconography blown up to almost belligerent proportions perfectly represents the aims of Party Out of Bounds: Nightlife as Activism Since 1980.
MIAMI BEACH — Amidst the overabundance, overproduction, and overstimulation of the spectacle that is the Miami art fairs, it becomes progressively harder by the day to recollect what I have seen or even what I have liked. And yet, the thing about authenticity is that it can persist, despite an environment designed to shout it down. And I saw it in Conrad Ventur’s installation Montezland, at Participant Inc’s booth at the Untitled art fair.
Andy Warhol’s death left us wondering how the quintessential Pop artist would have reacted, or shaped, a society that fulfilled his prophesy of universal, albeit short-lived, fame. But aside from wondering what the artist would have thought of Rebecca Black, his passing left a hole in New York City Nightlife. Thomas Kiedrowski’s new book “Andy Warhol’s New York City” and a series of new “screen tests” by Conrad Ventur speak to the nostalgia this generation feels for the days of Superstars and silver clouds.