Post image for This Week’s Must-See Art Events: Survive Art Fair Hell With Bushwick Punx and Georgia O’Keeffe

It is hell week for the art world. What used to be referred to as “Armory Week” is now a beast spanning more art fairs than anyone has time or energy for. Now that NADA has joined the fray, it’s likely going to be more stressful, but at least slightly less soul-crushing.

To help navigate this mess, we’ve picked out the week’s highlights: the art fairs you really should see, as well as gallery, DIY, and museum events to help recover from the convention center lighting.

These events include an artist talk from photographer Elle Perez at  Daniel Cooney Fine Art on Tuesday, a peek at Georgia O’Keeffe’s personal style at the Brooklyn Museum on Friday, and the Silent Barn’s Paper Jazz Small Press Festival all weekend long in Bushwick.

Wear comfortable shoes. Bring aspirin. We’ll get through this together.

Post image for Museum Punk Show in Need of A Sound Guy

In a past life, Mexico City’s Museo Universitario Del Chopo was a punk flea market. Today, it’s gone back to it roots (kinda).
Punk. Sus rastros en el arte contemporáneo is a fantastic survey of both punk and its impact on contemporary art. But when so much of that influence has been on video art, the logic of a gallery presentation is questionable.
The show feels a bit like it should be a film festival but has been squeezed into a white box. Good luck trying to sit through more than a dozen videos with overlapping sound on different loops.

Post image for No Paintings for Old Men: I’m Done With Amy Feldman

I have to hand it to NYC-based painter Amy Feldman: not every artist can cause me to temporarily lose the will to carry on writing and the energy to carry on chronicling our bankrupt, post-meaning culture. What, I wondered as I walked around the palatial Blain/Southern Gallery, is the damned point anymore? Confronted on all sides by Feldman’s aggressively vacuous, massive canvasses, I can’t even argue conclusively that Feldman’s work is good or bad. It operates so outside of any qualitative value scale that I understand—as if attacking the very idea of value—that it defeats all rational readings of art or art making. All I can do is respond. And respond I must.

Post image for You Want It Darker: Robyn O’Neil’s “The Good Herd” At Susan Inglett Gallery

Is any art that depicts a vivid sense of doom and gloom immediately relevant in 2017? Yes, if Robyn O’Neil’s current solo exhibition The Good Herd is any indication.

Previously, the Los Angeles-based artist’s dark surrealism felt like an anachronism. Her drawings in exhibitions like 2011’s Hell were, at once, a throwback to Odilon Redon’s trippy drawings and Edward Gorey’s Goth wit. This didn’t exactly click during the comparative calm of the Obama years. But now, with the daily hellish roller coaster of Trump’s administration, O’Neil’s anonymous figures and ominous symbolism have become strikingly timely, addressing the isolation many feel from their fellow Americans who voted an orange demagogue into office.