Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.
The sculptures on view in White Column’s project room feel like the results of a lot of daydreaming by Joe Howe, who is now 87.
The British painter Denzil Forrester, who is currently showing at White Columns, talks about how he made art and was a fly on the wall at reggae and dub music venues.
“Viewer discretion advised: graphic sexual imagery,” reads some floor text that nobody seemed to notice or bother to read this afternoon as they entered Mendes Wood DM’s booth at the Independent.
I didn’t expect to say this, but Independent Projects is a lovely fair. Started by the creators of the Independent, Armory Week’s alterna-fair, and taking place in the same location, the former Dia Art Foundation building on West 22nd Street in Chelsea, Independent Projects simultaneously builds on and slims down its sister fair’s model.
MIAMI BEACH — The New Art Dealers Association (NADA) fair, currently in its 10th year, has established itself as something of a leading face for the “alternative” to the commercial excesses of Art Basel Miami and its orbit.
Common journalistic wisdom has it that it takes three examples of a phenomenon to make a trend. 1) Kitty City, a metropolis/playground for cats that was built at Flux Factory in May and unveiled with a kitten adoption drive the first weekend in June; 2) The Cat Show, an exhibition devoted to cats, also with adoption drive (two!) and a zine, opening June 14 at White Columns; 3) Divine Felines: Cats of Ancient Egypt, a long-term installation opening later this summer at the Brooklyn Museum that will explore the role of felines in ancient Egypt. And I didn’t even mention last year’s Internet Cat Video Festival, which organizers will reprise this summer, or the Grumpy Cat Art Project at a studio in Alabama.
The fourth edition of the Independent art fair, among the plethora of shows popping up during Armory Week, is akin to the children’s tale of The Little Engine That Could, and in the end, it did. Compared to the Armory Show, which was like a trip to Ikea (one exhibitor in fact was selling furniture), and Volta, which dared to be different (I skipped Scope), the Independent was part art community, part church sale, and part paean to art team building that was sure to include nonprofit organizations like The Kitchen, Glasgow International Festival of Visual Art, Printed Matter, and White Columns. It was especially sensitive in dedicating itself to New York organization’s that were hardest hit by Hurricane Sandy, such as The Kitchen and Printed Matter, and not exactly embraced by FEMA compensations.
TURIN — Everything in this house moves … At any given moment, installations and tableaux are temporarily constructed around the house and then sometimes in your own room your audio set-up will be deconstructed. They are traces left by my housemates Manuel Larrazàbal Scano and possibly Renato Leotta, who normally create full-studio works but also use the entire apartment as their working canvas. Living in a community of artists here in Italy, where all resources are shared and possessions/private property doesn’t really exist, has been an adjustment for me, a New Yorker raised by capitalists.
With the economy slowly creaking back to life and a good deal of speculation about an imminent art market bubble burst, the intrepid collector and writer Adam Lindemann has seen fit to open a brand-spanking-new gallery in the lap of luxury at 980 Madison Avenue.