“The Bronx Comes to Los Angeles” presents Ahearn’s and Torres’s works side by side, and it is ultimately Torres’s sculptures that stand out.
John Ahearn
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Tender Pencil and Ink Drawings Pay Tribute to Nursing Home Residents
Michelangelo Lovelace made numerous drawings during his time as a nurse’s aide, now on view in Fort Gansevoort’s online show Nightshift.
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Franklin Furnace at 40: Still Radical After All These Years
For Martha Wilson and her collaborators at the Franklin Furnace Archive in New York, the avant-garde spirit is alive and well, and as relevant as ever.
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I’d Prefer Not To: ‘Enacting Stillness’ at The 8th Floor
Overall, the work in Enacting Stillness suggests that, contrary to some of the grander claims made about art’s political efficacy, most art intervenes in the world in a more limited, but no less essential, way.
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35 Years After Fashion Moda, a Bronx Gallery Revisits the Landmark Space
1978. Weary of the SoHo art scene, artist Stefan Eins decided to open a new art space in the South Bronx. The space was named Fashion Moda (1978-1993) an abbreviation of the full name painted above its entrance: Fashion 时装 Moda МОДА.
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Lessons from 30 Years of NYC’s Percent for Art Program
2015 marks the 30th anniversary of Jorge Luis Rodriguez’s “Growth” and the public art program that initiated its creation.
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New York City Bill Could Give Citizens Greater Say in Public Art Process
New legislation to be submitted to the New York City Council on Tuesday could bring an end to a decades-long debate surrounding democracy and public art.
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Christy Rupp on Rats, Geese, and the Ecology of Public Art
Christy Rupp burst onto the New York art scene with “Rat Patrol,” a street art response to the sanitation strike of 1979.
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The East Village Eye: Where Art, Hip Hop, and Punk Collided
Between May 1979 and January 1987, the East Village Eye breathlessly covered the East Village art scene. Indiscriminate in its interests, the magazine charted the rise of hip hop, graffiti, and punk, and is widely credited with contributing to the intermingling of several New York scenes.
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Why Are We Revisiting the Times Square Show?
Thirty-two years after being labeled the “first radical art show of the ’80s,” the Times Square Show, a raucous and revolutionary DIY art exhibition held in an abandoned massage parlor on 41st Street and Seventh Avenue in the old dirty and devastated Times Square, has been revived by the Hunter College Art Galleries in the exhibition Times Square Show Revisited.
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Frieze Frame on Randall’s Island
The massive Frieze art fair landed on Manhattan’s Randall’s Island and not everyone was happy. Pro-union protestors and members of Occupy Museums showed up to protest but they were pushed so far away that you have to wonder if anyone noticed.
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The Bronx’s Favorite Abandoned Mansion Becomes a Home for Art
In the last several years, the term “pop up” has become ubiquitous in the art world. The majority of these related, newfound endeavors — brief exhibitions, stores and happenings — make charming use of relatively sparse, small storefronts. In this vein, I’ve come to expect a bit of space-maximizing ingenuity from the pop-up crowd. And yet I couldn’t have been more pleased to find the exact opposite at No Longer Empty’s latest temporary exhibition, This Side of Paradise. The sprawling show occupies more than 20 rooms of the abandoned Andrew Freedman Home in the Bronx and takes its name from F. Scott Fitzgerald’s first novel, a fitting tale of greed and social ambition.
