- BALTIMORE! The Mayor’s Safe Arts Space Taskforce is meeting tonight. It’s so important that advocates for maintaining affordable live/work spaces come to these things. [The Mayor’s Facebook]
- Why were so many female artists written out of art history? It’s an unfortunate fact of most museum collections, but the Guerrilla Girls are making a dent in the art-historical glass ceiling. [The Guardian]
- Right, on! NADA is donating half of its ticket sales this year to the ACLU. Acronym orgs unite! [artnet News]
- Katie Alice Greer, singer of the D.C. punk band Priests and a solo artist under her initials, K.A.G., talks about why all art is political. Lots of great comments in this interview, but this really stands out, “To me, successful art isn’t someone wagging their finger at you or spelling it out on a chalkboard. I mean, maybe it is, if it’s literature or the written word. Successful art you have to unpack, because it’s interrogating you or what your idea of reality is, or what the world means, or is very beautiful or very complicated, very ugly.” [The Creative Independent]
- The city wants to build housing over top of Sunnyside Yard, the massive train yard. This would represent a huge new neighborhood in Queens, but the feasibility study, which paints a rosy picture for this new development, doesn’t include any mention of increased transit options or new hospitals. Also New York State governor Andrew Cuomo controls the MTA portion of the yard and the Feds (Trump) control the Amtrak portion. We may not see this plan come together for another a 100 years. [Crain’s New York]
- A brief (read, long and comprehensive) history of art collectives in New York City’s Chinatown. [Hyperallergic]
- The SPRING/BREAK art fair says good-bye to their old haunt at the post office, and will take over two floors of an office building in Times Square. [ARTnews]
Pretty much since the majority of the people between our coast and theirs proved why this stupid country can’t have nice things in November, Californians have been talking about a “Calexit”. This is not likely to happen, but neither are any of the threats Trump has been making to California (a state which, by the way, accounts for a way bigger chunk of this country’s GDP and tax revenue than those imaginary, super-fun coal mine jobs people think they’re getting).
Sure, it would really suck for the rest of us Americans in places that don’t believe Moses rode a dinosaur for 40 years in a desert (or whatever) if California did manage to escape with all its electoral votes. But maybe it’s in the best interest of humanity if the state that houses the most people who actually know how nuclear weapons work did get out from under Trump’s rule.
Just take us with you, please.
Welcome to the new normal. We at AFC have noticed a decline in artistic output from Brooklyn’s DIY scene as of late, while commercial galleries and institutions in Manhattan (and a few in Queens) have been gearing-up for battle mode with politically-charged programming. We’re hoping this is because everyone in Brooklyn is too busy thinking about resistance, and not because they’ve fled the country.
Tuesday night, The New School is hosting a talk about female bodies online, and Wednesday, the New Museum is opening a massive Raymond Pettibon show. After checking it out, head down the block to ICP, where curators will be discussing the loaded Perpetual Revolution: The Image and Social Change. More talks will come Thursday, such as the Brooklyn Museum’s call to defend immigrants and the Flux Factory/ABC No Rio potluck/opening/discussion about artists’ mutual aid in times like these. Friday night, take a break from political angst to get lost in the dreamy paintings of Jordan Kasey at Nicelle Beauchene, or the likely dreamier office set E.S.P. TV has staged at Pioneer Works. The weekend brings more great art and opportunities for creative resistance: be sure to check out the Queens Museum’s event to build climate change resistance coalitions between artists and activists.
One of the best tax breaks out there is the home office (or home studio) deduction. In tax terms, this essentially turns a portion of your nondeductible personal expenses (your home) into deductible business expenses (a workplace). A lot of people are confused about the rules, and some people are scared to take the deduction at all because they’ve heard that it can be a red flag to the IRS. As long as you are following the rules correctly, there is nothing wrong with taking the deduction. And it’s a big one! So here is some help.
We can thank L.A Times Culture Reporter Carolina Miranda for tweeting this Charlie Chaplin as Hitler GIF in which he kicks a balloon of the world. This summed up Wednesday’s news and pretty much every day that will come after it so long as Trump is president. And on that same subject, one day later she remarked, “At this point, any day that doesn’t end in nuclear annihilation is a gift.”
Remember how happy everyone was to put 2016 behind them? One month later, and we’re just hoping to finish 2017.
Entering Theo Rosenblum and Chelsea Seltzer’s “Culture Shak” installation at The Hole, is like walking into a Post-human Natural History Museum arrangement of “2016.” The decadence, absurdity, and pleasures of our fragmented culture are put on display with a monumental gingerbread totem pole, a sexy penguin with a six-pack abs, and a touching sculpture of a volcanic ash encrusted skeleton.
I had the pleasure of sitting down with the zany duo, to discuss cultural appropriation and what interpretation a future alien race might bring to relics left behind by our own extinct species.
One of the few positive side effects of Trump’s chaotic pussy-grabbing rise to power is the revitalization of feminism as an active political tool. Between the Women’s March and women-driven exhibitions like Nasty Women, women are now at the forefront of the resistance to Trump’s dangerous administration. The strength of this feminist revival explains why the failure of A.I.R. Gallery’s 12th biennial exhibition Sinister Feminism is such a disappointment.
Rather than a strong rebuke of a misogynist administration, Sinister Feminism, curated by Piper Marshall with Lola Kramer, shows a stubborn refusal to scrap wonky aesthetic concerns in a time of political emergency. Not only is the exhibition’s attempt to rethink feminist art’s essentialism hackneyed, it also felt disassociated from reality.
When I first saw this little spinning guy hard at work on a portrait, I thought he was a 3D rendering.
It turns out there’s a company in Sevilla, Spain—Studio Impresionarte—that makes tiny 3D-printed, full-color sculptures of clients. These are a little uncanny-valley-creepy, but I kinda want one? The GIFs don’t really do justice to the weird factor of seeing people hold tiny replicas of themselves.