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Sadie Laska

This Week’s Must See Art Events: Cuban Death Metal Sci-Fi, Art Book Fairs, and More

by Michael Anthony Farley on September 13, 2016
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One of the great things about the art world is its permeability with other fields. Except that can seriously compound one’s #FOMO when one’s art calendar gets squeezed by spillover from Fashion Week in Manhattan, three publication fairs across the East River, political organizing, and art-film screenings. Phew.

Wednesday, catch some more conventional art openings uptown and in Chelsea with solo projects from Henry Hudson and Oscar Murillo, respectively. (Actually, Murillo’s vaguely haunted-house sounding installation promises to be anything but conventional). Thursday, check out Jessica Stockholder’s latest work at Mitchell-Innes & Nash, gender-bending in the Garment District, and black-metal-meets-science-fiction-literature from Cuban artist Yoss (how’s that for interdisciplinary?)

That night, Printed Matter’s NY Art Book Fair is having a preview party. It will be running all weekend, along with the new Independent Art Book Fair in Greenpoint. Friday brings us group shows about failure at TSA New York and Radiator Gallery and Saturday there’s a mysterious fashion/art event at Romeo with an all-star cast to raise funds for Planned Parenthood. Finally, Paddy Johnson is hosting an anti-gentrification panel discussion in Sunnyside, Queens that’s an absolute must-attend. And if you want to remember why we want to keep the city weird, end the day in the immersive-subversive film installation of Jon Moritsugu at Ramiken Crucible in the LES.

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This Week’s Must-See Art Events: Old School Survival

by Paddy Johnson and Rea McNamara on June 6, 2016
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Urban survival, whether it’s the cost of living in New York or even riding along Sag Habour in a self-sustaining houseboat, looms largely in this week’s events. Tonight’s lecture at the Morbid Anatomy Museum suggests that this dates back to Weimar Berlin’s era of anarchy and decadence, where fake fakirs — religious ascetics who live solely on alms — got by with their gnarly nails and pins piercing. Flash forward to Saturday’s MoMA opening of Nan Goldin’s famous 1986 visual diary “The Ballad of Sexual Dependency”, and those piercings became the battle scars of surviving the East Village’s punk bohemia. Today, we’re thankfully more practical in eking out our incomes: we look to the sun and its instruments (see this Thursday’s opening of the “Heliotropes” group show at Geary Contemporary) or envision terrible futures in our analogue pasts (“that old school dystopia” at Theodore:Art on Friday). But sustainability, if we quickly cut to the chase, really involves supporting each other, which is why this weekend’s workshops around the nuts and bolts of artist finances or even writing and editing an artist statement will get you ahead. No need for any physical scars.

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We Went to Frieze: Ate Shit, but Didn’t See the Ass

by Paddy Johnson and Michael Anthony Farley on May 4, 2016
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One could more or less have the same experience of Frieze by looking at documentation of most of the work. This, despite the fact that visitors can sample dystopian “food” products and see a live donkey (sometimes).

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On Zona MACO: How to Excel at Being an Average Art Fair

by Michael Anthony Farley on February 11, 2016
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Last week, I visited Mexico City’s Zona MACO (México Arte Contemporaneo), Latin America’s largest art fair. This was on the heels of our visit to Material, a satellite fair that impressed Paddy and me beyond our expectations. Walking into MACO felt just like visiting the most art fair-y of art fairs by comparison—which is to say, the immediate experience was predictable. There were long convention center lines, groups of “fresas” queuing up to take selfies in reflective sculptures, and familiar overexposed blue-chip names such as Alex Katz and Richard Prince. (“Fresas” is Mexican slang for “yuppies”, literally translating to “strawberries”.) MACO devoted a good chunk of floor space to design wares—from furniture to high-end sunglasses. I wasn’t immediately inspired to lend the event much thought beyond snapping some photos. With a few days of reflection, I realize Zona MACO is noteworthy for its extremes. And that’s not just the quality or quantity of blatantly commercial crap. For all the lackluster blue chip staples on the floor, I also saw an impressive amount of well-curated project booths that smartly positioned emerging artists and galleries in dialogue with the establishment. These two poles served a useful purpose: they lay bare how contemporary art fairs function. Zona MACO is the best model I can think of to demonstrate how for-profit fairs must work to remain both commercially viable and discursively relevant. For better or for worse, MACO excels at both.

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Our Take On “The Cat Show” at White Columns—With Kitty Pics!

by Corinna Kirsch on June 20, 2013
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The Cat Show at White Columns has everything and nothing to do with cats. Everything, because most of the 134 artworks show cats or cat-related ephemera—like litter boxes, scratching posts, or yarn. Nothing, because the themes of many of these works aren’t about cats at all.

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Slummer Nights in New York on 07/28/10

by David Harper on July 28, 2010
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Slummer Nights Date: Wednesday, July 28th 2010 – Saturday, July 31st 2010 Venue: CANADA, 55 Chrystie Street Slummer Nights, organized by Sadie Laska, is a four-night series of collaborations between artists and musicians, including AFC friend Jon Williams. The series features installations, live projections, film, music and comedy. Some highlights include a presentation of video works […]

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