Just in time for the holidays the Free Emporium & Gift Exchange has popped up on the Lower East Side. A cross between a swap meet and a museum, the artistic experiment gives new meaning to free trade.
The concept of artistic collaboration is slippery. New York Magazine’s 31st reason to love New York City in 2009 is “Because Our Street Art is Collaborative.” Maybe they don’t really understand the notion of collaboration.
Here is an extravaganza of slideshows from the big cross section of 7 art fairs and one private museum show I attended while in Miami and haven’t written about yet. Enjoy the journey into the dark corners of the Miami fairs.
Some thoughts about last night’s liveblogging experiment at English Kills art gallery and high quality photos from each of the performances.
I’m liveblogging Maximum Perception Performance Performance Festival tonight and you’re along for the ride.
So far, we’ve traveled from a Catholic school to African tunes to an auction to free bouncy rides to a man in his underwear getting text messages from the audience … and more ….
In an attempt to answer the age-old question — Is it art or home decor? — I perused the halls of Art Basel Miami to see how galleries are serving the lifestyle needs of the rich and famous.
Outside of the major art fairs there’s dozens of other art things to see and do in Miami, including Wynwood Walls, which featured a bootilicious Sissy Bounce performance, art by Fairey, Swoon, Stelios Faitakis, Los Gêmeos, and more.
If looking at art is fun, watching it burn is great. There’s something cathartic about attending an event dedicated to the destruction of art in the middle of the world’s largest art fair bacchanalia.
What happens when in the name of art you ride through Manhattan in a truck hauling ginormous letters that spell the word NO? Lyra finds out.
Recently on Hyperallergic, An Xiao’s “Cover Art, or Vito Acconci Gets a Follow Back,” made the case for artists who choose to directly reference or re-stage existing artworks. She draws a comparison between derivative works and cover songs. This may be an apt comparison, but she glosses over an important fact: most cover songs are terrible.
An Xiao organized a 40th Anniversary tribute to Vito Acconci’s “Following Piece” (1969) for @Platea, the social media art collective she performs with. She likes to call what she did a form of “cover art” and she explains why.
Daniel Larkin reflects on Brent Owens’s solo show Gnastic Pursuits, which took place earlier this fall at the English Kills Art Gallery in Brooklyn. Describing his work, Larkin writes, “Owens likewise takes the rich tradition of wood carving and melds it with that millennial taste for biting wit and quirks of fate.”