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Jack Shainman

The Best of Everything, 2016

We were pretty sure 2016 was a stinker until we sat down to reflect on all that was good. Going through the images on our phones and our archives, we learned there’s actually quite a bit to celebrate. So much so, in fact, it took us an entire week to assemble this post. That’s quite a bit of time, but it was worth every minute. Here’s to all the artists, curators and performers that made our days and lives better this year.

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From Botswana with Love*: The Gaze in Meleko Mokgosi’s Marxist Oil Paintings

by Michael Anthony Farley on September 29, 2016

Meleko Mokgosi’s two exhibitions at Jack Shainman are a politically-charged invitation to spectatorship in oil on canvas. Gorgeously rendered scenes from southern Africa invite the viewer to consider colonialism, class, and domestic life from a Marxist, yet utterly subjective viewpoint.

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This Week’s Must-See Art Events: Painted Rooms, Painted Faces, Digital Everything

by Michael Anthony Farley on September 6, 2016

Well, we hope the art world had a good summer vacation because school is officially back in session. There are so many good shows opening on Thursday night in Chelsea we just couldn’t list them all—Matthew Barney at Gladstone, Rashid Johnson at Hauser & Wirth and Lynda Benglis at Cheim & Read, to name a few.

We’ve focused on the absolute can’t-miss openings and those that might get overlooked below. From Wednesday night’s opening exhibition on the work and collaborative legacy of early digital/conceptual artist Alison Knowles at The Graduate Center to Thursday night’s absolute must-see double exhibition of Meleko Mokgosi [pictured] at both of Jack Shainman’s Chelsea locations there’s plenty to see and do.

But to offer a quick summary of where the most openings which nights, expect to spend Wednesday on the LES, Thursday in Chelsea, and Friday, Saturday and Sunday rushing from neighborhood to neighborhood. This should be a good week for Uber.

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Tuesday Links: Fox News Not A Fan of Dread Scott’s Flag at Jack Shainman

by Michael Anthony Farley on July 12, 2016

Dread Scott

Jack Shainman has hung Dread Scott’s “A MAN WAS LYNCHED BY POLICE YESTERDAY” flag above the gallery, referencing the iconic Jim Crow era NAACP flag. Predictably, our colleagues over at Fox News find this controversial and insensitive following the mass shooting in Dallas in which five police officers were killed. Because in conservative logic, the deaths of five police officers somehow outweigh the roughly 100 unarmed black people killed annually by police? [Fox News]

Downtown Brooklyn Partnership and Downtown Brooklyn Arts Alliance have presented the “Culture Forward” plan to retain and expand the neighborhood’s art scene in the face of large-scale developments. Most excitingly, they’re advocating that the city-owned properties at 31 Lafayette Avenue and 334 Furman Street be renovated into 30,000 square feet of artist studios and are offering affordable housing seminars for arts/culture workers. [Curbed]

Mark Hudson doesn’t seem to be a fan of the Liverpool Biennial. His chief complaint seems to be that the future of art looks a lot like the 1980s, but the whole curatorial concept of “episodes” sounds bizarre and hokey. Has anyone else seen the show? Sound off in the comments, please. We’re curious. [The Telegraph]

A French court has indicted dealer Olivier Thomas over charges he participated in the theft and sale of three Picasso paintings from the artist’s stepdaughter Catherine Hutin-Blay. The paintings were discovered at the home of Russian billionaire Dmitry Rybolovlev, who purchased them for €27 million from the Swiss businessman Yves Bouvier, who has been accused and fined for harboring the stolen paintings. Juicy. [artnet News]

And in a far more bizarre case of international art legal troubles: a Canadian corrections officer, Robert Fletcher, is suing Scottish artist Peter Doig for $5 million because he won’t admit to painting a landscape painting in Fletcher’s possession. According to Fletcher, Doig was arrested for LSD possession as a teenager in Canada in the 1970s and sold the painting (which could now be worth a hefty sum) to the corrections officer when on parole for $100. The plot thickens, as there’s also a now-deceased Canadian with a similar name whose circumstances also fit the narrative. [Daily Mail]

This is disgusting and also kind of cool: Central Saint Martins student Tina Gorjanc has filed a patent to clone human leather from Alexander McQueen’s DNA to produce a line of leather goods. I guess that human leather “Perfecto” jacket would be cyberpunk as fuck. [Dezeen]

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Friday Links: “The Fucked-up-ness of American Culture”

by Michael Anthony Farley and Rea McNamara on April 8, 2016

Barkley Hendricks, “In the Crosshairs of the States”

Iggy Pop was at the MoCA Detroit for the opening of American Valhalla: The Art of Post Pop Depression. The exhibition features photography from Andreas Neumann and Matt Helders, and will be tour the same cities as Iggy Pop’s concerts this year. [Billboard]

Could the German baugruppe model work here? German would-be homeowners can form LLCs to act as their own developers, building themselves custom, cheaper housing as opposed to buying off-the-rack condos. [Curbed]

Many in Toronto’s Downtown East are concerned that a new LGBTQ-focused sports center development in Toronto’s Moss Park may not serve the area’s large community of homeless people, sex workers and drug users. The Center is promising to “de-institutionalize” the neighborhood by having all community services under one roof, but the development coincides with an Edmonton developer buying up ten properties across the street to turn into three large condo towers. And so far, the condo development’s language—around “safety” and working “closely” with police “to advance law and order”—is raising concern and fears of displacement for the very community the sports center is supposed to serve. [NOW Magazine]

Barkley L. Hendricks has a new show of paintings at Jack Shainman, and in an interview with Lee Ann Norman, speaks to about his return to portraiture and “the fucked-up-ness of American culture”. [Hyperallergic]

The latest art world revelation from the Panama Papers? Turns out billionaire currency trader Joe Lewis bought the Ganz collection before the record-breaking 1997 Christie’s auction with the support of an offshore firm. Lewis bought 100 works from the collection six months before for $168 million, and then set up the Christie’s sale, which then fetched $206 million. [The Guardian]

James R. Miller is suing the Robert Mapplethorpe Foundation, Sean Kelly Gallery, Skarstedt, the Whitney Museum of American Art, and the Guggenheim for copyright infringement. Miller claims he actually staged and shot four iconic Mapplethorpe “self portraits” and is seeking tens of millions in damages. [Hyperallergic]

Dushko Petrovich’s profile of Jerry Saltz is sadly only available in the latest print issue of Tablet, but M.H. Miller provides some highlights here, along with commentary: “Saltz, as one of the few remaining staff art critics in the country, has a lot of power in the art world. He is also a widely known public figure (uncommon for critics of any genre). Negative criticism of him is rare and largely kept private. I’m sure Saltz’s followers would happily—or, more likely, angrily—debate the profile on social media, though in a strange bit of irony for a subject whose persona is so entwined with his presence online, Petrovich’s piece is only available in print.” [ART News]

Earlier this week, I (Michael) asked “Is a graphic diamond a symbol we can attach whatever symbolic associations we want to?” Apparently, yes. Olafur Eliasson’s “Green Light” looks very much like the project “Diamonds Light Baltimore”, but this time, the diamond is about the refugee crisis, not police brutality. [artnet News]

“Any New Yorker who even thinks of voting for Ted Cruz should have their head examined, Really, here’s a guy who refused to sign onto the 9/11 health care act for the cops and fireman. Here’s a guy who talks about New York values.” Even conservatives in New York can’t stand Cruz. That quote’s from Long Island Republican Peter King, who also mocks the Texan’s cowboy boots. [New York Daily News]

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We Went to The Armory Show: HOW TO SPEND IT

by Michael Anthony Farley and Molly Rhinestones on March 4, 2016

Michael: Every time I go to a fair I’ve been told is going to suck, I’m pleasantly surprised by the first few works I see and actually like that are somewhat engaging. Then, usually within an hour of arrival, fair fatigue sets in and I want anything to shatter the stifling boredom.
Molly: I’m honestly devastated I didn’t know that the “YOUR MOM” balloons were free for me to take.

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Art Basel Feels Like Last Season’s Trunk Sale

by Paddy Johnson on December 3, 2015

My Art Basel experience will sound familiar to almost everyone following the fair. After a day at Art Basel Miami, most dealers I spoke to still had work available. That’s not to say that sales were slow— just slower than the usual mad rush we’ve become accustomed to over the last few years. According to art consultant Josh Baer, that’s not because the art was bad, but because collectors have become more thoughtful.

Yeah right. Collectors have not suddenly transformed into more curious and discerning people. They’re just not oblivious to the obvious: most of the art on view looked like B-rate work we’d seen a hundred times already. Even people who have nothing to do all day but buy things will eventually get bored of that.

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Pussy Galore’s 2015 Gallery Report Card is Out

by Paddy Johnson on February 19, 2015

What does female representation look like at the top galleries in the city? Mostly, terrible, according to Pussy Galore’s latest report card.

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Frieze New York in Images

by Paddy Johnson and Corinna Kirsch on May 9, 2014

We found some good Ryan McGinley photographs!

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We Went to Chelsea: Why Isn’t Every Show Hermaphroditic Squid?

by The AFC Staff on January 4, 2013

The new year and the lingering effects of Hurricane Sandy mean that much of Chelsea won’t be open for another week or two. In the meantime, we’re seeing what we can. Here’s our report from 20th through 22nd Streets.

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Jack Shainman

We Went to Chelsea: Why Isn’t Every Show Hermaphroditic Squid?

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