NADA New York, the New Art Dealers Alliance’s (NADA) hometown art fair, has a reputation for showing a certain type of clinical, vaguely cynical, and aggressively cool contemporary art.
Artist Jennifer Chan is masterful at remixing images and video clips from pop culture, overlaying text with a ’90s special-effects aesthetic and often setting the carefully coordinated pieces to catchy pop songs.
Not long ago I wrote an article celebrating the work being done by cyberfeminist collective Deep Lab. After the piece was published, a writer, curator, and friend wrote to me to express concerns about the lack of women of color artists in the group.
I first learned about Cubism in an art history class my sophomore year of college. I remember the moment of revelation, after reading a lot about but still failing to grasp what exactly Picasso and Braque were after. In the darkened lecture hall one afternoon, our teacher summed it up this way: how sparingly could you paint a face while still having the viewer understand it as a face? What was the bare minimum required for representation? As legend has it, these questions and the art they inspired changed the course of art history forever.
Is the same true of the digital revolution? That’s the premise of Decenter, an exhibition curated Andrianna Campbell and Daniel S. Palmer and currently on view at the Abrons Arts Center.