Mixing painting and weaving with 35mm photography, Brooklyn-based artist Lala Abaddon creates intricate woven works that “create space and time within a stationary moment” through her use of color and contrast. By cutting printed photographs into hundreds of strips, which she then weaves together, Abaddon creates a deconstructed collage of worldly experience, exemplifying alternate realities of chaos, color, and the universe. Her work dives into the cerebral components of human connecti... [more]
Paris Dispatches is the blog of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency here.
Describing The Flâneur (as I have been asked repeatedly to do throughout my project, and rightfully so) is a complex proposal. Now, nearing the end of my residency, afte... [more]
“Kehinde Wiley is everywhere right now,” said Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum, as the small press tour began. This was not an exaggeration by any means; Wiley garnered recent attention when his paintings appeared as backdrops in Fox's Empire, a highly stylized melodrama from Lee Daniels and Danny Strong that collages black stereotypes while positioning black bodies into a King Lear-like drama, and for his fashion week photoshoot wit... [more]
Tick, Tick, Bang: On Painting in The Forever Now by Bradley Rubenstein Richard Aldrich, Joe Bradley, Kerstin Brätsch, Matt Connors, Michaela Eichwald, Nicole Eisenman, Mark Grotjahn, Rashid Johnson, Julie Mehretu, Dianna Molzan, Oscar Murillo, Laura Owens, Amy Sillman, Josh Smith, Charline von Heyl, Mary Weatherford, Michael Williams at MoMA (Museum of Modern Art)
December 14th, 2014 - April 5th
Between 1942 and 1963 Dorothy Canning Miller was the curator of the highly perceptive and ultimately influential Americans shows at the Museum of Modern Art. Beginning with Americans 1942: 18 Artists From 9 States and ending with Americans 1963, Miller presented the work of artists such as Hyman Bloom, Robert Motherwell, Jay DeFeo, Robert Rauschenberg, Jasper Johns, Lee Bontecou, and Frank Stella—artists who would ultimately be the defining contributors to the mid-century American art his... [more]
If 2014 is to be remembered by one social narrative in America, it’s the involvement of law enforcement in the black community. The world was still mourning the death of Trayvon Martin when NYC Mayor Bill de Blasio announced his promise to end the often abused, racial profiling police tactic known as stop-and-frisk; Michael Brown was fatally shot in Ferguson by a cop—so were Rumain Brisbon and Ezell Ford—and the video of Eric Garner’s last words “I can’t breathe&... [more]
Selfie culture makes me a bit queasy: they've become an easy tool for anyone to use to get validation from an image-biased society. They exacerbate a myriad of social problems and can often come from a sad place, rather than one of empowerment, posing a real dilemma: should we exploit our looks to promote ourselves? As a consequence, selfies are surfacing in a new way in the work of young digital artists. Selfies are being wilfully dragged into feminist discourse.
A lot of artists are readily a... [more]
I have been thinking, for the last week or so, about art and criminality. Not so much about the inherent criminality of the art world, necessarily—whether this dealer or that dealer might also be involved in the arms trade, or ruminating on the more subjective moral brand of “criminality” present in the sale of an eighteen-million-estimate artwork—but the literal "Push me Pull you" relationship which the two “concepts,” have been enacting in my peripheral vision... [more]
There is no better point in time to enact change than during a cultural rupture. Popular culture—the expressions that bind a collective group—is a smooth stream of images and ideologies that flows at an overwhelming and indomitable rate. This is part of the mandate of contemporary culture: to express with as many images and words as experienced time will allow.
Smack Mellon, a New York venue in DUMBO that supports emerging and underrepresented artists put its exhibition schedule on hold t... [more]
The basement of the Ace Hotel is filling up with leggy females and men with manicured facial hair. It’s not a big room, but the black lights on the dimpled white walls make it seem expansive. The DJ is spinning something that seems like the sonic equivalent to the end of an acid trip as the fog machines get fired up and the bar opens for business.
I’ve been to a few immersive installations created by Jonah Freeman and Justin Lowe. None have ever been as grand and glorious as the first one, Hel... [more]
The original impulse in my life as an artist was to write and to break from writing into image... Art is the last oral tradition alive in the West.
Francesco Clemente, the nomadic Neo-Expressionist painter and sculptor, continues to pursue his travels and artistic investigations, and, fortunately for New Yorkers this season, has brought back the resulting documents in two concurrent shows: Francesco Clemente: Inspired by India, at the Rubin Museum and Two Tents at... [more]
Two recent New York exhibitions put a new spin on the specter of the drone within art and technology. This past Saturday was the last day to see Sky Burial, Rick Silva's solo show of drone art at Transfer Gallery in Bushwick. Meanwhile, across the East River, bitforms gallery presented its second week of Shellshocked with four drone pieces by Addie Wagenknecht.
Wagenknecht and Silva join a long list of contemporary artists making drone art, but the ways they approach drones are decidedly innovati... [more]
Breaking up has never been easy. It's also never been easier, thanks to text messaging.
In her first New York solo exhibition, Allison L. Wade presents an entire series of artworks devoted to the breakup text message. Set against painted and photographed backgrounds on differently sized canvases, each work features a single text sent during one of Wade's own romantic failures, either by Wade herself or one of her exes.
They range from the tragic, "I knew you would do this to me," and desper... [more]
MoMA PS1 threw their annual Halloween Ball last Friday - the theme this year: Hallowqueens! The galleries remained open during the costume ball making for some interesting juxtapositions.
First, four dumpsters sat in the courtyard marked with "THROW YOUR ART AWAY", a project from Bob and Roberta Smith (actually one person) that asks gallery goers to bring in their old art and treat it as the commodity it is. If your art is lucky (read: good enough), MoMA will display it on the second floor for a... [more]
The Oxymoron of Normality at DEPO Tütün Deposu Lüleci in Istanbul, Turkey, is an exhibition which brings together artists from Poland and Turkey. Organized by the Arsenal Gallery in Bialystok, Poland, the show is part of the cultural program of the 600th anniversary of the Polish-Turkish diplomatic relations in 2014. The Oxymoron of Normality. We are Europeans, but perhaps not in a full sense is curated by Monika Szewczyk and aims to cover the condition of countries in the area of Central and Eastern Europe and the Ba... [more]
Rearrange your sock drawers. Rapper turned painter turned Lion turned hosier Snoop Lion just released a fresh line for your feet. Working with Swedish sock company Happy Socks, Snoop and the creative team at Cashmere Agency developed a collection of three designs inspired by his foray into painting.
"The Art of Inspiration" sock collection includes the navy and white paisley-patterned "Snoop Dogg Gin & Juice," the brightly colored paint supply-themed "Snoop Dogg Painter," and "Snoop Dogg Stripes... [more]
When I moved to New York in 2007 one of the first things I picked up was a copy of New York Magazine with Dash Snow, Dan Colen, and Ryan McGinley in bed together on the cover. The image, shot by Cass Bird, has stayed with me. It shows a bird’s-eye view of three friends in their underwear, snuggled together like a small litter of puppies. The picture is intimate but it becomes oddly intrusive on a magazine cover, in part because no one is making eye contact with the photographer. Instead all... [more]