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Dana Schutz

On Dana Schutz’s Open Casket: A Masterful Yet Imperfect Painting

by Paddy Johnson on March 22, 2017
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Twitter, Facebook, Instagram, the blogz—if you can type on the platform and you’re in the art world, you’ve probably weighed in on the debate over Dana Schutz’s painting of Emmett Till. The painting is based on a photograph of African American Emmett Till, laid in a coffin. The 14 year old young man was brutally murdered in 1955 for flirting with white woman, his face horrifically disfigured in process. Earlier this year, it came out that the story was made up.

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The Whitney Biennial: Visual Screen Burn Courtesy of America’s Finest

by Paddy Johnson on March 16, 2017
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Out of the ten Whitney Biennials I’ve seen, this is the first one that could have used a vomit warning. But here we are, in Trump’s America, a future many of us never wanted to imagine, let alone live through. What is the purpose of art in this New America? This year’s Biennial bears no answers. Art doesn’t exist to defend its purpose and even if it did this exhibition was organized prior to the election. Nevertheless, it does bring then-simmering themes to a boil. So, while almost none of the work is Trump themed, as a whole the exhibition reads as a responsive to the challenges the country faces—increasing income inequality across the board, failing institutions, and the rise of hate-fueled violence. If art is a mirror, then this year’s Biennial should scare the shit out of you.

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This Week’s Must-See Art Events: Winter is Coming

by Michael Anthony Farley on March 13, 2017
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The week is of course dominated by two news items: The Whitney Biennial and The Wintery Downfall.

After the blizzard, Wednesday is a great opportunity to get yourself in the snowy mood, art-wise. Enjoy doses of culture from freezing, windswept regions, including Marsden Hartley’s Maine at The Met Breuer (if you’re missing the Whitney’s old digs) and Berlin-based Danish/Norwegian duo Elmgreen & Dragset in conversation with Dan Cameron at The Flag Art Foundation. Later, catch the Icelandic thriller Hevn at Scandinavia House’s New Nordic Cinema screening series.

Other highlights include Fort Gansevoort’s female-perspective sports show March Madness Thursday night and TRANSFER’s four year birthday party, which will feature affordable editions from some of our favorite digital artists.

Oh yeah, and make time to check out the Biennial. I’m told it’s good, but “traumatic”. An appropriately bleak show to match our physical and political climate?

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This Weeks Must-See Art Events: The Art World Mobilizes for 2017

by Paddy Johnson and Michael Anthony Farley on January 3, 2017
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For everyone who has complained that the art world is too apolitical in the past month or so, take note of how 2017 is kicking off. We have a week of feminist exhibitions, the start of a month-long project about Trump’s America Saturday at Petzel Gallery, and shows that tackle topics from water contamination to the holocaust and the attack on the Pulse nightclub in Orlando.

Welcome to the art world in the Trump era. If the list of participants at Petzel’s event is any indication, the big guns are coming out.

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This Week’s Must-See Art Events: Nightmares Before Christmas

by Michael Anthony Farley on December 12, 2016
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This week there’s not a lot of art stuff happening beyond holiday parties and craft fairs. One could say NYC’s taken an unexpectedly Middle-American turn in that regard, were it not for how morbid so much of the week’s happenings are. Tuesday night, scholars Sam Tanenhaus and Richard Wolin perform a post-election autopsy on the American Republic and speculate about its afterlife (hint: It’s not looking good) at CUNY. For a slightly less depressing evening, head to Ubu Gallery where German artist Heide Hatry is opening a new series of drawings made with the ashes of human remains. If that’s not enough mortuary holiday cheer for you, Con Artist Collective is throwing a fake memorial art show for the comedian Bill Murray (one of the few national treasures that hasn’t died in 2016). Thursday night we’re looking forward to a subversive holiday group show at Kate Werble Gallery, and a six-hour night of discussions about Art After Trump at Housing Works.

Friday night, things get a little less bleak city-wide. P! and Beverly’s are hosting events for a Bard CSS project that sprawls across Chinatown and continues with satellite events all weekend. At Brooklyn’s Orgy Park, a group show invites painters to make something collaborative, and in Queens, MoMA PS1 is throwing a holiday party for artists that looks totally bonkers. Have some spiked hot chocolate. After a week of thinking about Trump and death, you’re going to need it.

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We Went to No Man’s Land: Women Artists from The Rubell Family Collection

by Paddy Johnson and Michael Anthony Farley on December 21, 2015
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At the Rubell Family Collection, dozens of contemporary women artists working in every conceivable medium left us very impressed.

Michael: Here, the blue-chip market and a private collector managed to accomplish something many institutions or independent curators haven’t—presenting an all-female show that feels as if it has nothing to prove.

Paddy: I still can’t get over how many monumental art works in this show so effectively dominated the space that you’d literally feel awestruck by their presence.

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This Week’s Must-See Events: Collected Cum Shots and Love Children

by Paddy Johnson and Michael Anthony Farley on June 8, 2015
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In New York, there’s no such thing as recovery from last weekend’s art orgy at Bushwick Open Studios. There’s just more events. This week we’ve got what we expect to be a heady exhibition from Whitney ISP, a hypothetical, queer revision of history, and a room full of found and solicited cum shots. Good times!

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At the Whitney: Industry, Advertising, and Death Makes America Hard to See

by Paddy Johnson on April 27, 2015
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A closer look at the Whitney’s permanent collection exhibition America Is Hard to See.

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We Went to Chelsea: Another Look at Detroit

by Corinna Kirsch and Whitney Kimball on July 3, 2014
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Detroit, as seen through Chelsea’s lens.

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