Faustine’s depiction of household shared by three generations of Black women presents matriarchy as a source of power.
We Wear the Mask treads a fine line between opacity and revealing truth in its rawest form.
In the artist’s work, flagrant playfulness reigns supreme, and the human body points at an unresolved sense of geometry.
Every year, the Armory Show art fair chooses an area of the globe to zoom in on for its Focus section, a curated selection of mostly emerging galleries that often includes some of the fair’s chief highlights and surprises. For 2013, the Armory’s Focus section takes on its own home base, the United States. We all know the art world can be a little narcissistic, but at first this sounded ridiculous.
In documenting the rough corners of 1970s New York, Jill Freedman brought out with her photography something old-school lurid, like the flashbulb exposures of Weegee and Brassaï in the decades before, always offering a startlingly and very human view on her street subjects. When in 1971 the photographer, then in her early 30s, borrowed a white Volkswagen bus to join the circus for two months, she turned her 35-mm camera on the claustrophobia of the caged animals and strange lives of the clowns and performers.
New York is a city awash in information. If your body was a receiver can you imagine how overwhelmed by senseless Facebook updates and spam mail it would be? It goes without saying that the more connected we are the more unavoidable digital reality becomes. This does not exclude the white walls of the art gallery. Artie Vierkant’s first solo exhibition Image Object at Higher Pictures on the Upper East Side is proof of this.