From the category archives:

Reviews

Notes on the 2015 Triennial: Surround Audience

by Paddy Johnson and Corinna Kirsch on February 26, 2015
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In which Paddy and Corinna discuss the Triennial in thousands of words.

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A Few Thoughts on “Excellence” and the 2015 .GIFYS

by Paddy Johnson on February 17, 2015

nJnD26r Cat Smoke

GIF lovers rejoice. Public voting is now open for The .GIFYS, an annual award dedicated to celebrating excellence in the field of GIF-making. 14 GIF experts have narrowed down the field into 11 categories: Animals, Art + Design, Can’t Look Away, Cats, TV + Film, Music, Nature + Science, News + Politics, Sports, Throwback, and Weird. Now that they’ve whittled down an entire year’s production, it’s your turn to vote on the best of the best GIFs of 2015. Ready. Set. Wait a minute….

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Out of the Blog Mines and into the IRL Club

by Whitney Kimball on February 11, 2015
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A night of beer, jokes, and bonding over the best of the web.

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Nick DeMarco’s “Here on Earth”, A Goodbye to B-Movie Hopes

by Whitney Kimball on February 6, 2015
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If you’d walked into Interstate Projects last week, you might have thought the gallery went dumpster diving in Loews AMC’s deep storage and installed their findings.

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Must Like Loud: Neal Medlyn’s Explosive Seven Part Opus 

by Paddy Johnson on February 2, 2015
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When a performer spends several nights grinding his dick in your face for art, you want to find something good to say about the performance. It takes a lot of guts to put your junk out there, let alone create a seven part opus. That’s especially true in the case Neal Medlyn’s uneven performance marathon “Pop Star Series: The 2015 Emerald Edition,” which ran over the course of three days at the American Realness festival. Throughout the course of his pop-star based series, I watched Medlyn’s dick fly out of beaded candy briefs, hump a staircase, and air grind through saggy white underwear.

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The Making of “Hamilton Fish”: Rachel Mason’s Eight-Year Saga

by Whitney Kimball on January 29, 2015
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“I do believe that there is cosmic synchronicity that we don’t understand,” Rachel Mason told me on a chilly night in her Long Island City studio. Eight years ago, she began researching an eighty-year-old newspaper story for her new opera “The Lives of Hamilton Fish”– the making of which, alone, is a long story.

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The Nostalgic Pop of Grear Patterson’s Manhattan Beach

by Corinna Kirsch on January 27, 2015
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There are, and have been a ton of contemporary artists whose work falls into this territory of nostalgic pop. It’s hard to say why we need more of them.

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Grateful for Muses: Miguel Gutierrez’s Age & Beauty, Part 2

by Corinna Kirsch on January 21, 2015
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Why continue to make art if you’re a 43-year-old with no savings and no time for relationships? Choreographer Miguel Gutierrez wrestles with those personal doubts in Age & Beauty Part 2: Asian Beauty @ the Warq Meeting or The Choreographer & Her Muse or &:@&.

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At American Realness, the Nervous Wreckage of Jeremy Wade and Jibz Cameron

by Whitney Kimball on January 20, 2015
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Is there any anxiety worse than that of the liberal empowered self-aware non co-depending politically correct BFA’ed? Based on Jeremy Wade and Jibz Cameron at the American Realness Festival, no.

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Ivo Dimchev’s Fest: An Artist’s Descent Into Hell

by Paddy Johnson on January 19, 2015
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Social capital is the fuel of the art world. Attending art openings, dance performances, and biennials is seen as glamorous and sexy. Studio visits feel like exclusive behind-the-scenes access to the artist. Actually financing the lifestyle, though, requires a lot of soul-killing administration: constant emailing, negotiation, and usually a bit of flattery.

Most of us hate it. A lot of us try to avoid it. And then there’s Ivo Dimchev, who uses his distaste for administration as inspiration for his disturbing three-person performance, Fest, at the Abrons Arts Center. The piece tells the story of Ivo Dimchev’s negotiations with a festival director and staff in Copenhagen, all of which devolve into power plays driven by sexual desire. It is an absurd and abject comedy that sits somewhere between total chronophobia and complete brilliance.

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