Post image for No, The Pineapple Prank Meme Isn’t Proof “Modern Art” Is A Sham

People are using a student’s left-behind pineapple in a university gallery as evidence that “Modern Art” is for chumps. Of course, that’s not the whole story.

Post image for This Week’s Must-See Art Events: Reading is Fundamental

Start your week off with a dose of Civil Rights history Monday at IFC, where fierce pussy is screening The Black Power Mixtape and Wednesday at ICP, where Hettie Jones will be talking about what Making America Great really looks like. Thursday, we’re looking forward to two book launches. Andrea McGinty will be releasing her Ah Yes Bad Things at Printed Matter and Leslie-Lohman Museum of Gay and Lesbian Art is throwing a party to celebrate the catalog for their current exhibition Queer Threads. Friday night there are mysterious but promising exhibitions opening all over Brooklyn. Then it’s DUMBO open studios all weekend. End the week with a day trip to New Haven (seriously, it’s a painless train ride) where Bortolami’s ARTIST/CITY program has paired Tom Burr with a Marcel Breuer masterpiece that now finds itself surrounded by an IKEA parking lot.

The world is a strange and wondrous place. We’ll see you out in it.

Post image for We Went to Frieze, Part Two: Pussy Hat Show Flops, Anti-War Hard On Holds Up

Yesterday we discussed the overall look and feel of Frieze and concluded that this iteration of the fair is far superior to previous years. Lots of lively inventive work and short on the kind of soulless work in a frame that can make these events so tedious. Today we take a deep dive into a lot of the art we saw. Let’s get down to the nitty gritty.

Post image for Who’s Wearing the Pants at Frieze Week?

In which Michael Anthony Farley and Paddy Johnson nerd out and discuss Frieze and NADA and the changing art fair landscape.

Post image for We Went to Frieze, Part One: Seagull Poop, People Poop, and Demon Poop

Every year Frieze installs a massive tent on Randall’s Island and lures jetsetters from across the globe to its contemporary art fair. This year, the fair expanded its usual roster of contemporary art galleries to include a few secondary market stalwarts as well. Newcomers to the fair included Bernard Jacobson Gallery, Castelli Gallery, and Axel Vervoordt and Eykyn Maclean.

That’s not a huge change in the landscape of the fair, but notably the fair’s director, Victoria Siddall, told the Art Newspaper recently that there was a significant uptick in applications from galleries in this market. Is Frieze grooming the New York market for an edition of their London-based Frieze Masters (a fair focused on secondary market art works)? Only time will tell.

Meanwhile, Frieze New York is much better than usual. Art fair standards that drag these events down—geometric abstraction, process based abstraction, and assembly line art works by A-list artists—were few and far between. Overall, the work on view seemed unusually fresh and thoughtful. Neither are words we normally use to describe art fair art, let alone that at Frieze.