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.
Ebony G. Patterson’s first NY solo exhibition, Dead Treez at the Museum of Arts and Design teems with light and shadow, evocations of death and new life, the sacred and the quotidian. The exhibition teems. There are flowers everywhere, carrying with them all the myriad cultural and ritual associations. Overgrown and opulent, Dead Treez connects with viewers through its palpable much-ness. With a surfeit of finely wrought materials the artist creates an affective atmosphere we often associate w... [more]
As I was walking through the halls of Moynihan Station, weaving in and out of noir offices, I overheard a reporter repeatedly saying into a flip phone, as if he was relaying the latest from the frontlines, “It’s renegade, renegade!” I chuckled and kept meandering.
Maggie Dunlop at SPRING/BREAK
SPRING/BREAK is indeed a bit of a renegade. It has and continues to do its own thing, being the only curated fair I am aware of that doesn’t take exhibitor fees, but rather asks for a cut of sales. If... [more]
When The Armory Show hits the Hudson River piers this week, it brings with it more fairs and events than most reasonable art lovers would, or could, venture to attend. But who said anything about being reasonable?
To help you make sense of the fair terrain this Armory Arts Week—to say nothing of the innumerable gallery openings, parties, and performances citywide—this one-stop guide should get you up to speed, leaving you more time to concentrate on that thing we're all here for—... [more]
Art+Feminism started their Wikipedia “edit-a-thons” on March 1, 2014, on International Women’s Day, as a response to the enormous quantity of information now available to us and the evident lack of information about women in the arts. The under-representation of women is not a product of the digital age and the predominantly male editorship of Wikipedia—which we’ll return to shortly; the digital age is merely, in its current state, a continuation of how things have always be... [more]