Things have their own power and agency in the artist’s installation and humans are part of a complex world of life forms and materials.
The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
Speculations about climate change by an array of artists feel eerily probable, if not already real.
Maybe a sense of belonging is a thing of the past, a sign of privilege.
Jude Tallichet’s art is a reminder that, although our world has changed, something weird and wonderful may await us on the other side.
Laugh Back’s comedic timing is so regrettably tardy that its punchlines about Trumpism and American masculinity fail to land.
For more than 20 years, Smack Mellon has supported emerging, under-recognized mid-career and women artists in the creation and exhibition of new and ambitious work.
From project spaces off the beaten track to nonprofits in Dumbo, galleries in Bushwick, and the Brooklyn Museum, there was so much strong work in the borough this year.
On August 3, Dominique Duroseau will host the participatory performance “Rap on Race with Rice,” which revolves around one activity: separating black and white rice.
For this Smack Mellon exhibition, artists were given textual prompts regarding education, particularly how it relates to the historical struggles for social equity and justice.
Built with the collected detritus of art fairs, The Fair Housing Project illustrates just how much good material is thrown away once the tents fall.
At a round-table discussion at Smack Mellon gallery, convened on July 27 by Hyperallergic and the gallery, the issue of the distinction between propaganda and art was in focus.