Art
After celebrating ten years of contemporary art fairs nationally and abroad, Scope New York has decided to make the move uptown to mingle with the big boys. The fair is enclosed in an enormous white tent on 57th Street at Twelfth Avenue and provides a much-needed respite from the hysteria of the Arm
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If artists knew how to take breaks, they’d probably find different professions. True to their people, art-party company The They Co. has put together an ambitious “break” from the commercial art madness of Armory Week — a colossal, curator-driven, thematic art exhibition on three floors of an old sc
Art
After attending both the Moving Image Fair at the Waterfront Tunnel and the Independent in the old Dia:Chelsea building, I realized that art fairs and the art contained within them are suffering from the same problem as many recent exhibitions in major museums: It's nearly impossible to appreciate t
Art
Big art events in New York are often set up in opposition to the “establishment.” In reaction to the Whitney Biennial, there is now the New Museum Triennial and the BHQF Brucennial. The Dependent responds to the Independent. In this sense, I would compare Volta to the Armory — they are sister fairs
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I was reminded yesterday afternoon, while walking through mazes of pop-up galleries, tent-like hallways, magazine stands and oddly placed sculptures just asking to be tripped over, that the contemporary wing of the Armory Show — which runs through Sunday at Piers 92 and 94 — means different things t
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You're supposed to complain about the art fairs … just like you're supposed to complain about the Whitney Biennial. IN fact, it is a general art world rule that you should complain about anything you find worthy of revisiting year after year. And then you should always threaten never to go again.
Books
We all use social media. We tweet, Facebook, tumble and pin away, and some of us even make art on these platforms. Social media have been explored in countless talks and essays, as everyone from sociologists to artists to technologists have come together to explore just why these new media are so in
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Don't go to Jon Kessler's The Blue Period at Salon 94 Bowery if you don't like to be watched. Actually, if surveillance makes you nervous, you should probably move to the remote landscape of Antarctica, because at least in Kessler's installation the cameras are visible. The thousands of CCTV units t
Art
Lebbeus Woods is probably the most famous architect you’ve never heard of. Although, perhaps the word architect is limiting. Since the beginning of his career at a number of highbrow firms in the 1980s the architect, theorist and (I will venture) artist has weaved his off kilter brand of design in a
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Wading my way through an opening crowd consisting of a bizarre combination of bearded and flanneled Bushwick hipsters, New York Times critic Roberta Smith and MoMA PS1 curator Klaus Biesenbach at Chelsea gallery Luhring Augustine's new Bushwick location, I was shocked to discover a cold screensaver-
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Detroit is a myth. In a twisted, ironic way, the city has become an art-world Shangri-La, a place where artists are discovering — thanks in part to insanely low rents — creative possibilities to remake and reform a large geographic area with public art projects, interventions and community building.
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I left the 2012 Whitney Biennial with a feeling of leadenness that no amount of free coffee (available at Monday’s press preview, and many thanks for that) or Werner Herzog’s video ode to beauty (“Hearsay of the Soul,” 2012) could alleviate.