This season, in partnership with ARTS.BLACK, ArtSlant is publishing a series of essays on security, guards, labor, and privilege in museum spaces.
• Series introduction, and “Security // An Evidence Locker” | Sarah Rose Sharp
• “No Photos Please: Finding Respect and Value in Museum Communities” | Adriel Luis
When I arrived in New York on September 11, 1995, to stay at my grandfather’s house in Staten Island, I really didn&... [more]
The temperature in New York had reached the low 80s when I schlepped downtown for Sam Lewitt's Less Lights Warm Words at the Swiss Institute. Entering the gallery, which is nestled between the frenzy of Canal street and SoHo, it immediately became clear that the title of Lewitt’s intervention was a massive understatement.
Dispersed throughout the otherwise serene gallery space are large-scale copper heating circuits connected to the tall ceiling with loosely hung black wires. Dominating t... [more]
Upon entering Rodney McMillian: Views from Main Street at the Studio Museum in Harlem, brisk piano notes float out over the exhibition space followed by an almost euphoric serenade by Erykah Badu. Her voice is emanating from a video near the entrance of the gallery where a T-Rex puppet bops around a stage singing along, mouthing out every trill with his toothy jaw gaping open and shut. On the puppet-sized podium hangs a banner reading “The Neshoba County Fair Assc.—Giant House Party... [more]
Over the coming two months, in partnership with ARTS.BLACK, ArtSlant will be publishing a series of essays on security, guards, labor, and privilege in museum spaces.
Originally, we conceived of this project as a digital “round table” between security guards, artists, arts workers, and those with general interests in arts and culture, considering the theme of security workers à la Fred Wilson’s Guarded View. We quickly realized two things: a) this idea was not new, and... [more]
Occupy Greenwich, Jonathan Horowitz’s current exhibition at the Brant Foundation in Connecticut, delves into the gnarly path of politics—or being political per se—from its pun-intended title to its promotional poster espousing we all “Go Vegan!” Billed as an era-specific retrospective, the exhibition largely unfolds into the various bodies of works the artist has created since Obama entered the White House, and Horowitz swiftly maneuvers around issues that may or may not inte... [more]
In the coming days, Mayor Bill de Blasio is expected to sign off on (by not vetoing) a Uniform Land Use Review Proposal that will officially add Socrates Sculpture Park to the city park system and literally “put it on the map.” On this plein air exhibition space’s 30th anniversary, a more fitting symbol of acceptance could hardly be more encouraging.
For a place that has shifted from ferry slip, city landfill, illegal landfill, and finally appropriated into a sculpture park, transitio... [more]
Special exhibition programming and the curatorial wing of an art fair play an essential role as feeder programs for bringing emerging artists and galleries into the world of high retail. To learn more about how Frieze selects exhibitors for its project-driven sectors, we caught up with Jacob Proctor, Curator at the Neubauer Collegium for Culture and Society and Co-advisor for Frieze's 2016 Frame and Focus sections.
This year, the popular sectors comprise 18 solo presentations from galleries founde... [more]
Daniel Temkin is currently showing new work from his Glitchometry series at NADA with the new media powerhouse, Transfer Gallery.
Although Glitchometry could be described using the fashionable phrase “glitch art,” it bears little resemblance to what we have come to associate with that genre. Temkin’s talents in programming have given him ability to create his own unique systems for manipulating imagery through code. Although the technical aspects of Glitchometry’s creation... [more]
At Frieze New York, look out for livestock this year—Maurizio Cattelan is putting a donkey in a room with a chandelier, while Nick Bastis is doing an installation with snails. If you smell dog food, it just means you’ve reached the artwork of British artist and poet Heather Phillipson, who has created a giant “spinal cord,” as she calls it, which connects throughout various outposts throughout the fair.
Opening May 4, Frieze Projects, curated by Cecilia Alemani, features Ph... [more]
Frieze Week in New York isn’t holding any punches this year. Upping its game from eight to eleven (plus) fairs, the week will have you zigzagging up Manhattan and beyond—from Brooklyn to the LES, Wall Street to the Hudson Piers, Park Avenue to Harlem. And when you think you’ve had enough, don’t forget to save half your day and all your lunch money to get over to Randall’s Island Park for the main event.
To keep you zigging and zagging in the right direction, we present our... [more]
Last Thursday evening, with the sun setting and the air slightly chilled, I stood on the corner of 22nd Street and 8th Ave with a group of people all waiting to tour the two residential Chelsea blocks that had been turned into an outdoor exhibition by curator Lal Bahcecioglu. With her show entitled Sneak a Peek, Bahcecioglu turns four residential buildings and one commercial storefront into exhibition spaces by installing video monitors in the street-facing windows. The result takes the viewer out of the... [more]
Art collectors strike a delicate balance between patron and artist. Though emerging creatives view collectors as a golden ticket to success, stardom, or just their next meal, mid-career artists view their relationship more as a shared dialogue constantly shifting the scope and focus of their endeavors. A shroud of mystery often pervades collectors, radiating with the air of inherited privilege and market control.
Susan Hancock, the owner of the former Royal/T Gallery in LA’s Culver City... [more]
Paul of Tarsus wrote, “When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things. For now we see through a glass, darkly, but then face to face. Now I know in part, but then I shall know...” This passage from Corinthians comes to mind when looking at the recent work of Mira Schor, now at Lyles & King. Schor’s paintings, dark, compactly strong meditations on mortality, power, and language, show an arti... [more]
The Night Library periodically highlights freedom-of-information projects, radical print enthusiasts, and independent libraries.
At our request, the Interference Archive, based in Gowanus, Brooklyn, kindly agreed to curate a collection on the theme of "Racial Justice" to present on ArtSlant. In keeping with the spirit of the project, this "volunteer-run library, gallery, and archive of historical materials related to social and political activism and movements" put a list together collectively... [more]
Magic and language share a few essential qualities: they are both transformative in nature, and in the experience of each, information is lost along the way. They are mutually systems of artifice. Words make ideas out of things, an approach to understanding the world around us that often goes unnoticed, just as an unexplained phenomenon creates a distortion, precisely causing it to go noticed, to resonate. Though there is potential to reach each result on similar grounds through different means, the... [more]
What can be learned from looking at an artist’s desk? Does the workspace contain the material markers of process? Does it hint at the final outcome of the artwork?
Naturally. But as we’ve gleaned from our ongoing exercise in hearing from artists about their desks, what takes place in the studio and on the desktop is not all wrestling with concepts and materials. It’s where the prosaic business of being an artist meets with its more esteemed sidekicks, inspiration and process.