Today we announce the launch of “The Writers’ Auction,” our fall benefit auction running on Paddle8through October 23, 2014. The money raised will be used to take our two part-time writers on full-time—making it the most important auction we’ve launched to date. This means more resources to edit artist essays, in-depth interviews and reviews, and daily news coverage. This is flagship AFC content, and it’s the best art writing you’ll find anywhere on the web.
This week, public art goes to Fire Island, intellectuals go to Dominique Lévy, and painters will flock uptown for a Keith Mayerson-Peter Saul combo. Lecturers talk about GIFs, and a net art show is inspired by Yahoo! finance. A group show mimics organic “farm-to-table” trends, and a new cult classic is born at Light Industry (starring Liz Taylor).
Just like a reality TV show, the premise behind this year’s Whitney Biennial aims for high spectacle: What happens when you take three curators and ask them to put on three separate exhibitions at one of the world’s most prestigious museums? The world watches on, and we wonder what could possibly go wrong.
Even by itself, the Armory Show is overwhelming. With the Armory Show’s booths extending to the vanishing point in both directions of Pier 94, it can leave an unsettling impression of endlessness, where everything starts to look the same. And amidst the vastness of this week’s equally-momentous art events (a three-part Whitney Biennial, and the Armory’s satellites), this weekend could use a break of something more human in scale.
If fair overload doesn’t kill you this week, the events will. Get ready for the Whitney Biennial, the Last Brucennial, and a throwdown show by Anthony Antonellis at Transfer this weekend. Don’t count on sleeping this week.
Why go to a gallery to see a graphic novel? In the case of Horror Hospital Unplugged at Derek Eller Gallery, we're given a larger picture than is offered by the book alone. As with any great graphic novel, artist Keith Mayerson and author Dennis Cooper understand the work as a visual and lyrical rhythm rather than a series of individual pages; the effect, when seen spread out in rows across three walls, is a transformation from linear narrative to a score of washes, scratches, and text.
October gallery recommendations are in. Perhaps unsurprisingly, we can look forward to an abundance of marketable, slightly humorous work. It seems if you’re not painting this fall, you may be shit out of luck; this is not to say, though, that there won’t be beautiful, intelligent, or provocative paintings.