Though there’s too much to possibly visit in Chelsea alone, at least a few events in Brooklyn, Soho, and Uptown should make your must-see list. Creative Time’s sent some art to space, the Brooklyn Museum is organizing hundreds of open studios across the borough, and at least one event requires 3-D glasses. Here are a few other reasons to venture out, too:
It’ll Be Fun, and It’s TONIGHT
Picture Farm, 338 Wythe Ave, Brooklyn
Thursday, September 6, 6 – 9 pm
This show by AFC’s own designer Phillip Niemeyer of Double Triple looks really fun. Niemeyer’s found a surprising variety of artists working in red-blue 3-D, from the trippy neon collage of Tanya Newton-John and the fashion photography of Dan Forbes to Dana McClure’s graphic design. Despite the gimmicky feel of 3-D goggles, the mechanics of red-blue 3-D technology is the same sort of optical science that’s inspired artists for centuries.
And the event description so far sounds off the hook: 3-D snacks by food stylist Chris Lanier, 3-D cocktails by Rob Kruger of Williamsburg’s Extra Fancy, a (2-D?) musical performance by Devin Maxwell, and a 3-D photo booth. Can’t go wrong there.
Opening: Patricia Treib: Pieces
Tibor de Nagy Gallery, 724 Fifth Avenue
Thursday, September 6, 5 – 7 PM
We like the programming up at Tibor de Nagy Gallery, but we also like their style: No bullshit. Their press release, in its entirety: “Abstract paintings that translate the visual world.”
It’s Good For the Community, You Jerk.
All Over Brooklyn
You’re probably sick of us telling you to go to GO, so we’ll just say this: Takeshi Yamada.
You’ll Sound Smarter
Marian Goodman Gallery, 24 West 57th St.
September 12, 6 – 8 PM
This sounds like bullshit. Richter’s been making Strip paintings, rows of digital stripes derived from colors in his paintings. The press release informs us that these “impos[e] on the painting an extreme vertical fracturing of the space.” That is a description of fucking stripes.
Creative Time at Bryant Park/The New York Public Library
September 19th (time TBA)
Creative Time and artist Trevor Paglen are gearing up for the end of humanity with their latest project, “The Last Pictures.” MIT artist-in-residence Paglen has spent the past five years interviewing artists, scientists, anthropologists, and philosophers on what they thought should represent our time. This month, Creative Time will launch a television satellite of the images into space from Kazakhstan. It will broadcast ten trillion images over the course of fifteen years, and then it will die, storing an ultra-archival disc inside, hopefully orbiting the earth for billions and billions of years.
This leads us to wonder things, like the odds that aliens will know what to do with a disc, and who made it into the capsule. Paglen will have to explain himself on September 19th, when he starts his worldwide lecture tour at Bryant Park/The New York Public Library.
If you’re wondering why Paglen is the right man for this job, watch him discuss this earlier research project with Steve Colbert.
The Swiss Institute, 18 Wooster Street
Wednesday, September 12, 6 to 8PM
Whatever you think of John Armleder’s chic minimalism and high-end furniture sculpture, he’s been an enormously influential artist. A member of Fluxus, he’s of a generation who helped bolster the perception of Switzerland as a leader in contemporary art. Like Franz West, he’s also considered an early proponent of furniture-as-art, with a more open embrace of ornamentation-as-readymade. His influence has stuck around; his is a brand we’ve seen a lot of at the art fairs.
Gavin Brown’s Enterprise, 620 Greenwich Street
September 29th, hours TBA
You could say Kerstin Brätsch is post-Armleder. If you’re a sucker for expert formalism, check out her solo show at Gavin Brown.
The Art Will Be Good
Venus Over Manhattan, 980 Madison Ave, 3rd Floor
September 20th, 8 – 10 PM
Venus Over Manhattan isn’t much for social niceties. When we went, it was a shell of a gallery with no staff, unfinished walls, a shitty floor, and a press release on a chair somewhere. Since super-wealthy writer and collector Adam Lindemann opened the gallery this spring, though, it’s been on fire; it’s the sort of space that can make exciting things happen, like the recent group show (the best I’ve seen all year) in which artists each had to make something of a wall-mounted bulletin board, or the darkly-lit inaugural show that mixed high and low art from all over the place. It’s real experimentation, and it’s working. Peter Coffin’s liberal approach to imagery will do well in this space.