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Louise Bourgeois

This Week’s Must-See Art Events: Djinns Against Digital Colonialism, John Waters Action Figures, and “Werifesteria”

by Michael Anthony Farley on May 22, 2017

This week you’re in for a weird ride. From Aaron Pexa’s installation inspired by faeries from Welsh mythology (opening Wednesday at UrbanGlass) to a show of fake John Waters memorabilia Thursday night at La MaMa, there’s a lot of idiosyncratic happenings to partake in. Add to that itinerary a Friday night group show of emotion-altering colors (like the opposite of a mood ring!) at Small Editions and Eva Papamargariti’s speculative mutant frogs at TRANSFER on Saturday.

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Friday Links: On Chelsea Manning’s First Portrait As A Free Woman

by Michael Anthony Farley on May 19, 2017

Okay, so here I am everyone!! =Phttps://t.co/NuyZlcWfd9 #HelloWorld pic.twitter.com/gKsMFTYukO

— Chelsea Manning (@xychelsea) May 18, 2017

Samantha Allen considers the first image of a free Chelsea Manning, and how the prison where she was kept policed her gender expression. [The Daily Beast]
Both Adam Szymczyk, curator of the upcoming documenta 14, and Christine Macel, curator of this year’s cheeseball Venice Biennale, included their lovers in their respective shows. Scandal or common practice? [artnet News]
There are few topics more depressing than the death of a whale. Yet that’s the topic of Lukas Hofmann’s show Enzyme, which opens tonight at Paris’ Galerie Frangulyan. If you’re in town, go cry, I guess. [AQNB]
Chiba-based businessman Yusaku Maezawa just dropped a record-breaking $110.5 million on a 1982 Basquiat painting at Sotheby’s. It’s the most ever paid at an auction for work by an American artist. The good news in this story? It’s going to live at the art museum in the buyer’s hometown. [ARTnews]
Valse Kunst Museum in Vledder, The Netherlands is a museum dedicated to forgeries. The museum was started by jilted Dutch collectors, who of course made lemons out of lemonade, and now houses plenty of convincing knockoffs of masterpieces. This is awesome. [The Boston Globe]
83-year-old activist and artist Raphael Montañez Ortiz will receive a medal for his contributions to Chicano culture at a ceremony in UCLA. Ortiz is known for “destructivist” art, in which he literally destroys household items as sculpture. I’m kinda hoping he chops the medal in half with an axe on stage as soon as he gets it! [UCLA Newsroom]
Here’s a very useful guide to applying to New York’s Affordable Housing Lottery. Though with odds like these, you might as well apply for the actual lottery and just become a millionaire like anyone paying current market-rate rents in Manhattan. [Curbed]
Cara Ober is basically the only writer I know who seems to have actually enjoyed Venice this year. Apparently the secret is pregaming with a spritz! Note to self… [BmoreArt]
Andrew Berman Architects have added a beautiful extension to the The New York Public Library’s Stapleton branch. My first thought: I could read here all day. My second thought: the acoustics of all these hard surfaces combined with the volume of Staten Island conversations will probably make this reading room unusable to all but the deaf. [Dezeen]
Mass MoCA’s gigantic $65m expansion enables the museum to house long-term, large scale installations. The first batch includes a 15-year commission from Jenny Holzer, a 25-year James Turrell show, a 15-year Laurie Anderson radio station, and a 15-year exhibition of a massive Louise Bourgeois sculpture, among others. For a destination museum, this seems like a smart move. [The Art Newspaper]

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

by Paddy Johnson and Michael Anthony Farley on May 5, 2017

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.

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This Week’s Must-See Art Events: Arctic Performances and Rooftop Sculptures

by Michael Anthony Farley on April 11, 2017

This is a bit of a slow week in New York’s art world. That’s a good thing, because everyone will need their energy for our goth party next week.

Nevertheless, we managed to track down at least one art outing per day that looks promising. Tuesday, Wong Kit Yi is closing her show of Arctic-specific performance documentation at P [exclamation]. Karaoke is rumored to be involved. Wednesday, Hercules Art Studio Program is opening a show about painting and the body that couldn’t feel more relevant to contemporary discourse. Thursday, we found a subversive performance night at Ridgewood’s The Woods, and Friday we’re looking forward to checking out Adrián Villar Rojas’s rooftop installation at the Met. This weekend MoMA opens the must-see Making Space: Women Artists and Postwar Abstraction, and the Queens Museum will host a Sunday book launch of election-woe poetry.

Remember: rest up. You’ll need that energy for dancing.

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This Week’s Must-See Art Events: Survive Art Fair Hell With Bushwick Punx and Georgia O’Keeffe

by Michael Anthony Farley on February 27, 2017

It is hell week for the art world. What used to be referred to as “Armory Week” is now a beast spanning more art fairs than anyone has time or energy for. Now that NADA has joined the fray, it’s likely going to be more stressful, but at least slightly less soul-crushing.

To help navigate this mess, we’ve picked out the week’s highlights: the art fairs you really should see, as well as gallery, DIY, and museum events to help recover from the convention center lighting.

These events include an artist talk from photographer Elle Perez at Daniel Cooney Fine Art on Tuesday, a peek at Georgia O’Keeffe’s personal style at the Brooklyn Museum on Friday, and the Silent Barn’s Paper Jazz Small Press Festival all weekend long in Bushwick.

Wear comfortable shoes. Bring aspirin. We’ll get through this together.

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No Paintings for Old Men: I’m Done With Amy Feldman

by RM Vaughan on February 24, 2017

I have to hand it to NYC-based painter Amy Feldman: not every artist can cause me to temporarily lose the will to carry on writing and the energy to carry on chronicling our bankrupt, post-meaning culture. What, I wondered as I walked around the palatial Blain/Southern Gallery, is the damned point anymore? Confronted on all sides by Feldman’s aggressively vacuous, massive canvasses, I can’t even argue conclusively that Feldman’s work is good or bad. It operates so outside of any qualitative value scale that I understand—as if attacking the very idea of value—that it defeats all rational readings of art or art making. All I can do is respond. And respond I must.

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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

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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Beyond Chelsea And The Lower East Side: The West Village Gallery Round-Up Part 2

by Emily Colucci on September 23, 2016

Continuing my exploration of the West Village galleries’ September shows, I ventured above Houston Street to Maccarone and White Columns.

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Katherine Bradford and Drawing for Sculpture: Swimmers and Gender Politics

by Paddy Johnson on January 22, 2016

With a snow storm threatening the weekend gallery goer routines of most New Yorkers, perhaps only the most intrepid will make out tomorrow and Sunday. But for those who haven’t yet seen today’s recommended shows—Katherine Bradford at CANADA and Drawing for Sculpture at Tiger Strikes Astroid (Bushwick) I have good news: both run through February 15th. You’ve got time.

And that’s a good thing, because pretty much any serious art lover in the city needs to see CANADA’s Katherine Bradford show, “Fear of Waves”.

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Wednesday Links: CATS IN BAG BAG IN RIVER

by Paddy Johnson Michael Anthony Farley Rea McNamara on November 11, 2015

Yes, our world continues to become more and more like a goofy sci-fi film daily. The 3RDi (pronounced “third eye”) is a headband that looks like a Livestrong bracelet with a tiny camera, documenting everything from the vantage point of the wearer’s forehead. As the image above suggests, it’s a must-have accessory for living in the dystopian police state. [PetaPixel]

Warhol’s “Four Marilyns” fetched $32 million last night at the end of Christie’s sale, but the house had guaranteed it at $40 million. Despite the highlights — Lucio Fontana’s egg-shaped painting sold for $29.2 million, Bourgeois’s spider set an auction record at $28.5 million, Freud’s portrait of Camilla’s ex-husband Parker Bowles $35 million — the two-dale Christie’s sale saw a 41% sales drop from May’s auctions, suggesting that the estimates didn’t necessarily match the quality of artworks. [Bloomberg]

The auction gets the equivalent of a shoulder shrug from Josh Baer who called the 20 percent sell through rate the sign of a healthy market. [Baer Faxt]

Sotheby’s released its quarterly report yesterday, and it appears that revenue from auctions themselves is shrinking. The auction house is offsetting that with income from ancillary activities, such as financial services. This may give credence to speculation that the evening sales don’t make money. [Blouin Artinfo]

In a climate where a 1990 Christopher Wool painting that consists entirely of the stenciled text “CATS IS BAG BAG IN RIVER” sells for $17 million and people are disappointed, it’s hard not to argue that the world is insane. Just how crazy has wealth inequality become? So crazy that apparently the super-rich are buying airfields and farms in remote locations to escape anticipated civil unrest. [The Guardian]

David Stewart wins this year’s Taylor Wessing Photographic Portrait Prize for a group portrait featuring his daughter and her girlfriends surrounded by their smart phones and coffee takeaway cups. The London-based photographer was awarded £12,000 for the National Portrait Gallery’s signature prize. [British Journal of Photography]

A Frank Lloyd Wright house reopens on the grounds of Alice Walton’s Bentonville, Arkansas-based private museum. Formerly located in New Jersey, the Bachman-Wilson House took 18 months and two trucks in order to make the 1,200 mile move. [The Art Newspaper]

Wow, plans have been unveiled for a new 1,000 foot office/residential building in Downtown Brooklyn that would be taller than any New York building outside of Manhattan. While the arrival of new luxury developments is an inevitability we’ve all come to dread, I have to say this design by SHoP architects is pretty nice. The skyscraper incorporates subtle nods to the city’s gothic and art deco spires without coming across as fake-historic or bland—the two options we’re used to seeing plague the city’s architecture scene. It does, however, lend itself to some Lord of the Rings jokes we should all be expecting to hit Twitter any minute now. [Dezeen]

Long Beach, California is getting a new art/craft fair that organizers describe as “Etsy for metalheads.” [LA Weekly]

Artists protesting the Brooklyn Real Estate Summit at the Brooklyn Museum are trying to raise a bit of cash for signs, city permits, etc. Help them out. [Generosity]

Deborah Kass’s sculpture OY/YO was placed in Brooklyn Bridge Park on Monday and will stand there through August. That’s right by our office, so we’ll be heading out to see the sculpture today. [The New York Times]

Fascinating: A study by the Federal Reserve Bank in Philadelphia finds that residents in gentrifying neighborhoods have slightly higher mobility rates than those in non-gentrifying neighborhoods, but they do have a higher risk of moving to a lower-income neighborhood. (Isn’t this because if you’re forced to move its because your income isn’t rising at the same rate as the neighborhood median?) [Bloomberg Business]

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