In a savvy move, Daniel Boccato has latched onto a currently popular color-and-shape-based aesthetic and taken it to a material extreme.
This week we continue with more show openings for weekend art-goers in need of a nugget of inspiration. Our round-up includes the Mike Weiss Gallery, Sculpture Center, Journal Gallery, the Studio Museum in Harlem, Airplane gallery, Nyehaus Gallery and Chambers Fine Art.
Harmony Korine is known chiefly as a filmmaker, best for writing Larry Clark’s 1995 cult hit Kids. His most recent movie, Trash Humpers, was variously decried and praised for its unabashedly gritty commitment to a certain kind of disturbing, voyeuristic realism. Bill Saylor is an artist who works in a surreal vein of the American visual vernacular remixing ideas of the great West, motorcycle culture and 60s psychadelia into a seething new whole. The pair have collaborated on a recently released zine, called Ho Bags, that springs from a similar milieu: messy, dirty, smudged drawings present the psychotic essence of the unrealized and over-idealized American Dream.
This Friday, January 14, Williamsburg art galleries will be open late for art lovers and fans to crawl through the bodacious borough of Brooklyn’s hipster-est neighborhood on earth. Dozens of art galleries and spaces will be open from 6-8pm to ensure that you can wander around and discover new talent and art from some familiar faces.
Tired of all the chatter about Nada being the next big thing, I decided to see if this year’s display would be everything the PR and press promised it would be.
Honestly, it was. Even if the solo artist booths in Richelieu hall were generally a little dull and pedantic, the Napoleon hall was filled with a diverse range of work from galleries that obviously loved what they do.
I found the painting at Nada particularly strong and it was nice to see a love of color in so many that ranged from large-ish-scale abstractions to small intimate pieces with rich surfaces. The tread for most of these paintings is that they tended to be done in a gestural mode of representation veering towards the abstract, but I can live with that.