The title of the current group show at The Hole gallery, Post-Analog Painting, sounds like a term invented by art historians.
Mark Flood Resents was an artist-run gallery, showroom, exhibition space, hangout, and crash pad where nothing was for sale.
Wading through the crowded opening of the Independent Art Fair, held in the former Dia:Chelsea building with its ridiculously narrow stairway, I found myself doing more reading than gazing at art. While this was partly due to the inclusion of Printed Matter, the seminal alternative book and zine store that sustained massive losses from Hurricane Sandy, it was also because the galleries and nonprofit spaces in the Elizabeth Dee and Darren Flook–founded art fair leaned heavily on conceptual works.
On view in Chelsea right now are three gallery shows that offer drastically different takes contemporary takes on minimalism. Two are from classic minimalist artists: Robert Irwin and Richard Tuttle have pioneered the movement since its first flowering in the 1970s. The third artist is kind of a gutter punk, but the crusty, abject work of Mark Flood might be the most engaging riff on minimalism’s fading grandeur.
From now through September 12, upon entering the gallery Luxembourg & Dayan, which is housed in a townhouse on the Upper East Side, you will see a series of colorful paintings based on patterns of lace. Deeply beautiful, the paintings work well in the posh, pristine interior — they seem to fit their surroundings. On the wall just beyond them, you’ll see the title of the exhibition you’re viewing, which may not be quite what you expected, given all the abstraction and color and lace: “Mark Flood: The Hateful Years.”