Not much connects the Lower East Side’s current crop of summer shows, except maybe for a shared inclination towards some (much-needed) weirdness. 47 Canal brings a seaweed-covered TV to DTR, while those looking for their fix of visual hallucinogenics should head to Lisa Cooley’s Eric’s Trip. UNTITLED’s The Husk, meanwhile, has the creepiest thing you’ll see all summer in the form of Josh Kline’s disembodied FedEx worker heads.
This was a performance that used very little means (not much more than leotards and a speaker) to achieve a huge impact. Here’s what we had to say about the piece, but basically, it was just really good.
There’s a type of summertime heat in the Gulf states that will turn even the hardiest of souls into a single ball of sweat. Not even air conditioning cannot save you. Summer’s really not the best season for art, and the galleries tend to know that; they slow down just like the rest of their sticky city-dwellers. And yet, a scant few do get out, and try to see art though most of the galleries have gone on vacation.
AFC Senior Editor Corinna Kirsch and Editorial Fellows Henry Kaye and Andrew Wagner give their takes on the industrial-themed summer group show at David Zwirner and Louise Lawler’s tracings of photographs at Metro Pictures.
In comic books, Modern art rarely makes an appearance. If it does, it’s usually seen as the backdrop to a crime—a museum heist, for instance. That’s what makes Grant Morrison’s “The Painting That Ate Paris,” a storyline running in DC Comics’ Doom Patrol, so rare; that comic took art and turned it into one of the most villainous creations ever known.