Richard Mosse’s video installation Incoming gives migrants anonymity while emphasizing their humanity.
70 of New York City arts organizations have called upon the City’s government to convene a symposium on how to better serve the city’s immigrant community now under siege by ICE and the Trump administration.
The inaugural biennial questions how we define the city margins by presenting the work of artists who call the eastern edge of New York City’s largest borough home.
There weren’t many protesters — just seven — but they were loud.
No Longer Empty Curatorial Lab (NLE Lab) is a 15-week professional development program for emerging curators that is dedicated to the curation of site-specific exhibitions.
No Longer Empty’s current exhibit, If You Build It, manages to avoid the ickiness of so many other art projects exploited to anoint development projects on the verge of fruition, and in an art economy that’s popularized the practice of artwashing that’s no small feat.
Isha is a cinematic work-in-progress both literally and figuratively. Recently a 15-minute screening, as well as actual location shoot happened back-to-back at Long Island City’s Clocktower Gallery as part of the ongoing How Much Do I Owe You? exhibition. It’s a ballsey attempt by Indian writer/director Meenakshi Thirukode to break into show biz and the art world in one fell swoop. Some of it is good, some not so good. But, as they might say in a Busby Berklee musical, “The girl’s certainly got moxie.”
After the Gomorrah-like deal-a-minute-a-thon of Art Basel Miami Beach, an exhibition arrives examining the artworld’s underbelly: money, lucre, filthy-stinking-rich moolah, big bucks, hated, denounced, but vital nonetheless. The show asks the question, what, exactly is a transaction? How does money come to dominate industrial production, banking, the housing market, nature, and the social realm? What do we owe, and to whom?
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.
The curious history of a former retirement home for wealthy elderly people fallen on hard times and the contemporary Bronx community now surrounding that home provide rich material for the 32 artists in No Longer Empty’s current exhibit, This Side of Paradise. Sharing its name with F. Scott Fitzgerald’s first novel, which follows the trials of a man seeking and losing love, wealth and status, This Side of Paradise inhabits the Andrew Freedman Home on the Grand Concourse, a stately structure sitting behind a fence and broad lawn.