- Andrea Rosen has announced she will close her gallery of 27 years. Art world shaken. More on this shortly. [Andrea Rosen]
- Details for Geoffrey Farmer’s installation at the Canadian Pavilion at the Venice Biennale have been released. He’ll be drawing inspiration from a 1955 group of photographs showing a lumber truck that collided with a moving train. Can’t say I’m excited yet, but whatever. I hope it’s good because I’m Canadian and I cheer for Canadians. [ARTnews]
- A full account of Andy Warhol’s death. It seems his surgery wasn’t so routine after all. “The surgeon found a gallbladder full of gangrene; the organ fell to pieces as he removed it.” Wow. [The New York Times]
- Good grief. PSSST, a non-profit gallery that opened last year in LA’s Boyle Heights has been forced to close due to online and IRL trolling. According to this report, activists were concerned that the gallery was complicit in gentrification forces, and the gallery claimed it was aiming to help the very communities the activists were fighting for. [The Los Angeles Times]
- Did you know that Housing Works was founded by members of ACT UP and actually builds affordable housing? I didn’t. That history and more told here. [Curbed]
- The New York Post is really scraping the bottom of the barrel for liberal smears. Their latest story tracks three animal deaths that have occurred while de Blasio was mayor and finds a disturbing trend. [The New York Post]
You wouldn’t know it, but all the plants in the GIF above were made with an L-system, which was used by early computer graphics professionals to accurately model plants. And by early we mean, EARLY. L-systems, a type of formal grammar were developed in 1968 by Aristid Lindenmayer, a Hungarian theoretical biologist and botanist at the University of Utrecht.
Nothing about this eerie GIF by artist Ben McCarthy, though, looks particularly dated. The whole scene resembles a 3D rendered environment, so a viewer doesn’t even contemplate that the technology might be old. In fact, it’s the kind of picture you’d imagine a younger Vija Celmins making if she decided to venture outside the subject of water. Something basically still, but for a small movement, implied or real, that imparts a feeling of quiet dread to the whole picture.
I’m not sure where this GIF of buff eagles in speedos dancing came from, but I sure am glad it exists. Try as I might with reverse Google Image Search, I can’t seem to find this image’s source. It does seem to be pretty widely posted across the internet, though, and it’s easy to see why.
Kick the week off with the closing reception of an anti-Trump poetry show at EIDIA House, part of their “Plato’s Cave” exhibition series. Tuesday, artist Hakan Topal and curator Joanna Lehan talk about representations of refugees at CUNY’s Graduate Center, and Wednesday two artists plunge into the aesthetics of capitalism and consumption at respective openings downtown.
Things lighten up a bit starting Thursday. We’re looking forward to the NYC debut of North Carolina artist Carmen Neely at Jane Lombard Gallery and Monica Bonvicini’s oddly sexy work at Mitchell-Innes & Nash. On Friday, AFC friend Saul Chernick is opening a collaborative show at NURTUREart in Bushwick, and Saturday Liinu Grönlund’s rat-centric video work goes live at Open Source Gallery. End the week with a timely show about barriers and portals from A.K. Burns at Callicoon Fine Arts.
Last year, we would occasionally spend some of our Friday afternoons writing up unusual things we found in the ethers of social media under the tag The 150th Wing of the Internet. I thought of resurrecting that tradition today, when someone sent me a link to the Facebook page N I G H T D R I V E R ナイトコール, which posts lots of GIFs, illustrations, and photos of cars driving through cities at night. Some of them have a retro-futuristic cyberpunk vibe, or capture candid moments of traffic from cities around the world. It’s a notable example of hyper-specific Tumblr-style curating migrating to other social networks.
For the ultimate highspeed-car-chase-from-the-comfort-of-your-home viewing experience, I recommend scrolling through the page while listening to this song.
Doomed Capitalism And Psychedelic Escape In David Spriggs and Matthijs Munnik’s “Permutations of Light” at Pittsburgh’s Wood Street Galleries
Before the election and the daily drama of Trump’s administration, I never fully understood just how important the current sociopolitical state is to the success of an exhibition. Of course, I was aware that timeliness could make or break a show. But, less than a month into Trump’s presidency, work that normally wouldn’t interest me in galleries I typically bypass have taken on new meaning and resonance.
The latest project to remind me of art’s dependence on its political context is David Spriggs and Matthijs Munnik’s dual exhibition Permutations of Light at Pittsburgh’s Wood Street Galleries. The show presents two large-scale immersive installations, Spriggs’s Gold and Munnik’s Citadels, on separate floors of the gallery. Concentrated on formal aspects of light, color and form, this type of experiential installation (which are often associated with Wood Street Galleries’ programming) have become so commonplace that they seem, at this point, like a crowd-pleasing cliché. But, when viewed in the context of our surreal times, Spriggs’s critique of capitalism and Munnik’s escapism feel surprisingly relevant.
A GIF that needs no caption.