Those who thought they’d ease into the work week after the holiday break will be sorely disappointed. Nearly every gallery in the city has an opening. Between the Abrons Art Center’s American Realness Festival opening this week and a rash of Chelsea and Lower East Side shows, your calendar will be full. And not just with the usual crap. Painter Jane Corrigan will debut fresh new figurative paintings at Feuer/Mesler—it’s her first solo show in two years. Grids, systems and minimalism take over The Kitchen, Cheim & Read and Lesley Heller, all in unrelated shows. And for those following all the climate change stories, Dana Sherwood’s exhibition at Denny Gallery focuses on our destruction of the earth. Assuming we survive long enough to see the show, it should be illuminating.
Anyone else notice that Rhizome’s four-piece Paddle8 auction has already raised over $35,000? The auction supports their Seven on Seven Conference, for which they seem to have so shortage of support. That’s in no small part due to Petra Cortright’s “krakow_1.psd”, a digital painting on aluminum estimated at $3,500. The top bid for that painting is currently at $17,500 after 29 bids. The auction still has two days left.
Mercifully, this year’s ADAA far was absent of familiar pop art fair staples such as Roy Lichtenstein and James Rosenquist. Many dealers brought contemporary art to the fairs, with familiar names such as Dana Schutz, Jacob Kassay, and James Turrell filling the booths. That, along with a series of in-depth solo booths, contributed to an overall sense of higher quality than in years past.
Take an elevator to the 7th floor of an open-air parking garage, and you’ll find Piston Head, an exhibition of over a dozen artist-designed cars, motorcycles, and trucks shipped from all over the world.
ExchangeWorks launches today. The website facilitates the exchange of resources and artwork. [ExchangeWorks.co]
“Jacob Kassay turns 30 next year, which means he has time to develop some originality to match his surfeit of intelligence and attitude.” Roberta Smith is not impressed with Jacob Kassay’s show at 303 Gallery. [The New York Times]
Emily Carr’s “Crazy Star” sold for 2.9 million on Wednesday at The Heffel Auction of Fine Canadian Art, a record for the artist. [The Art Market]
Secretary of State John Kerry’s got a new puppy he’ll never see thanks to the demands of his job. [The Washington Post]
It’s Black Friday, so why not get yourself an art cowl by Amy Wilson. [Etsy, via: Sharon Butler]
Exhibition view, Jacob Kassay, Art:Concept, Paris, May 8th to June 5th 2010 Courtesy Art : Concept, Paris - Photo : Fabrice Gousset
The Internet can’t keep a secret. It’s April Fool’s Day, and my feed is filled with gotcha articles and subsequent chatter about them. Thus far, Magda Sawon has announced she’s taking over Gagosian’s space uptown, ARTINFO has run a feature of art stars under the age of 6, and Hyperallergic has a piece on an exhibition that puts Jews in a box. That last one’s an actual story, but if you see a post over there written today by “The Editors”, watch out! [The Internet]
Jerry Saltz surveys the New York landscape and observes that the rich rule from 40,000 miles away, and fewer people are going to galleries. “I’ve tried to keep overhyped careers in check, and had no effect whatsoever.” he writes. “In fact, so many shows in so many places mean that we now have an overload of writing about art. Joseph Beuys said, “Everyone is an artist.” Now everyone actually is a writer. Like exhibitions that can’t get traction, commentary also has a hard time gaining a foothold, unless you yourself enter the arena of spectacle, becoming something of a spectacle yourself.” This is a pretty great summation of some of the writerly issues, and the piece as a whole tackles a whole lot more. It’s a must read. [Vulture]
Greg Allen responds to AFC contributor Eva Heisler’s review of Jacob Kassay’s show at Art : Concept, fleshing out an argument for why the paintings are less deflection—as she claims—than they are redaction. It’s a great response to the original review, though I have to say I don’t share Allen’s love for Kassay. It seems there’s an awful lot of intellectual resources dedicated to backing paintings that, on their own, don’t have much to say. It’s a very particular kind of viewer that’s going to find interest in comparing two identical press releases, just to glean the knowledge that the following has been redacted: “Dates, “New York,” “collaboration,” and “works on paper,” but also things like “industrial,” “chemical,” “conceptual,” and every reference to photography and his monochrome and mirror forebears. Also blacked out: any privileging of “the perception of the painterly surface,” and particulars of how “the artist carefully keeps control of their reproductions.”
This kind of parsing has some intellectual rewards, but I’m not convinced Kassay’s work isn’t engaging in a certain amount of navel gazing. Kassay is asking us to reflect on his own motives, and while that’s fair, they’re not so interesting that I wouldn’t rather indulge in a painting made for the virtues of painting. [Greg.org]
Blake Gopnik thinks the feverish pace of museum exhibitions might not be a sign of their good health. [Art Newspaper]
Let the openings begin. We’re going to see a whole bunch of new shows open this week, and we plan to attend them all. We’re crazy like that. Our full list of recommendations can be found at The L Magazine, but our list of Chelsea recommends can be had after the jump.
ArtForum’s Ben Carlson gets it from Greg Allen, who mysteriously believes that reviews should discuss the work, not auction prices. Jacob Kassay at L&M Arts doesn’t get much of a review. [Greg.org]
Ai Weiwei re-imagines his time in custody as a fashion shoot for W Magazine. The magazine describes he documentary-style pictures he took of the 1988 riots in Tompkins Square Park as a touchstone. [W Magazine]
Charlie Finch suggests a few places to Occupy: Trump is a good one. So is Marina Abramovic. [artnet]
“All of our grievances are connected”: A visualization of the crap the Occupy Wall Street folk don’t like Loren Munk style. [Hyperallergic]
The term “micro-celebrity” came out a livejournal entry on camgirls. [Rhizome]
Ben Davis compares Occupy Wall Street to the Art Workers’ Coalition in an essay about why he supports Occupy Museums. [ArtInfo]
In overdue corrections: A while back I wrote that Tom Moody was complaining about how rants were disappearing on blogs and comment sections. Not so. Tom Moody says he was lamenting the disappearance of ranting in the blogosphere because of the comment sections of blogs. In his words, “In a post you can be a fiery orator but then in the comments you are supposed to make nice and listen to what people are saying.” Facebook likes etc are making people be nicer. [Tom Moody]
Rafaël Rozendaal has a seven day show up at With Project Space worth checking out. Open through Oct. 30. [RR]
Word to the wise: Uniqlo’s 10 dollar pants are not available at their SoHo location. That intrepid reporting courtesy of yours truly. [Art Fag City original story]