If you’re heading out to “Stay in New York,” Art F City’s affordable workspace conference, there’s no better time than now to catch up on the issues: artists kicked out of studios, community-building legislation, and whether artists can afford real-estate in New York. Not going? We’ve compiled a lengthy guide on the state of affordable workspace in New York City, with articles from Art F City and other online publications, professional and academic studies, and books to get you started on knowing the current state of affordable studio space in New York City. Some of these resources you may be familiar with. Others have been made publicly available here for the first time.
Those who live outside the city or aren’t able to make it into Queens tomorrow for our affordable workspace conference are in luck. We’ve set up a livestream! The Stay in New York conference opens its doors at noon sharp, and our first panel starts at 12:15. The livestream will be up and running at noon. Now there are no excuses not to see this thing.
Alfredo Salazar-Caro is a pro at spinning animations. The GIF above advertises ∞Realities, a solo exhibition of Salazar-Caro’s work at Jean Albano Gallery in 2014.
In February of this year, cleaners and porters at London’s Sotheby’s auction house successfully campaigned to receive the London Living Wage of £9.15. The triumph was part of an extensive campaign by union United Voice of the World (UVW) to pressure both Sotheby’s and the contracted cleaning service Cleaning & Maintenance London (CCML) into negotiating several other terms for these employees, often migrant workers, who had complained of ill treatment—and unfair pay. But the victory of a living wage, among other gains, is now proving short-lived.
In this series of toothpaste GIFs by Clemens Reinecke, we see the failure of the everyday. Somedays your aim is off. Sometimes you’re suffering from an existential plight. That’s when you don’t care at all and just want to see toothpaste splat on the ground.
Bryan Zanisnik’s “Green Owls Manhattan Bridge” is all illusion. In reality, this apparent flat collage is actually an elaborately constructed set, complete with foregrounds and backgrounds, stools, digitally printed wall paper and even windows to the outside world. Through July 1st, Zanisnik’s studio was located on the 8th floor of 20 Jay Street in DUMBO, (only a few floors above our office) with a view of the Brooklyn Bridge. The artist waited until sunset to shoot his still lives, which created that perfect blueprint blue you see in the shots of the bridge above. The set itself was photographed under studio lights.
This approach reminds me a little of Artie Vierkant’s digital manipulations of his exhibition documentation—in both cases, the artist’s statement seems to be that the documentation is the work. But it also seems a break from artists in the early aughts whose work relied mostly on various photoshop filters. Lucas Samaras’s self portraits and Cory Arcangel’s Photoshop gradient instruction paintings might be the highest profile example of such work, but there are plenty more examples. Is this new interest in physical illusion a shift away from digital manipulation?