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Pacifico Silano

VOLTA: Skip The Booths, Head To “Your Body Is A Battleground”

by Emily Colucci on March 3, 2017
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Ten years ago, it seemed most fairs were moving away from the anything-you-can-hang in a booth model to solo show booths. The pinnacle of that movement can be seen as VOLTA, which trumpeted a model in which all booths were solo shows.

Ten years later, how is that holding up? If UNTITLED and SPRING/BREAK are any indication, a preference for curation is on the rise. That’s seen even at shows that boast solo booth models such as VOLTA NY, which is for its second year, hosting a curated section.

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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
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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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HIV/AIDS Goes Art History In “Art AIDS America” At The Bronx Museum

by Emily Colucci on July 29, 2016
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What is lost when HIV/AIDS becomes art history? A lot, as it seems.

As HIV/AIDS gets revisited by a slew of recent exhibitions, books and films, the real continued emotional impact of the disease is in danger of being replaced by a distant historical interest. Nowhere is this more apparent than in the Bronx Museum’s current exhibition Art AIDS America.

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