Posts tagged as:

Shin Gallery

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.

Read the full article →

Tuesday Links: Racist Art Out, Vomit Art In

by Michael Anthony Farley on May 16, 2017

Twin Peaks Metrocards are available at select subway stations. Someone please nab me a Laura Palmer! [Curbed]
Georges Berges argues that galleries are being forced to adapt to the “experience economy” as the act of purchasing becomes less about a simple exchange of goods and more about activities. This is a trend Whitney Kimball identified way back in 2015, and that I recently praised Shin Gallery for embracing. I’m not sure this is about gallerists adapting to the market’s demands (I don’t think “relational aesthetics” or sleepovers or cookouts or whatever art spaces are doing is what sells art objects to collectors) but maybe just about justifying (and enjoying) a brick-and-mortar location in today’s climate? [Observer]
21c, the art museum/hotel chain that operates on an alternative model to funding institutions in conservative states, is facing backlash at its Louisville location over a piece involving a racist postcard from the Civil War that an artist had recontextualized (apparently not very successfully) as a statement about confronting the past. After a boycott and threats of violence, 21c removed the piece. [WHAS11]
Teenage artist Sam Egli threw up on a canvas for his submission “Last Night’s Supper” to a religious-themed group show at New Zealand’s Jetcharm Gallery. It’s actually a pretty nice piece. [Stuff]
Denver-based nomadic gallery Black Cube has brought a “Colorado pavilion” to Venice as a satellite show, challenging the nationalist model of the Biennale. With text based neons from Joel Swanson and shiny gold sculptures from Laura Shill, it might sound like a fair booth on paper, but the work is gorgeous. Even Paddy (who was unphased by most of the Biennale) loved it. [artnet News]

Read the full article →

We Went to the LES: Solo Shows of Chris Burden and Patricia Treib

by Michael Anthony Farley and Patricia Margarita Hernandez on May 12, 2017

Michael: In the belly of the beast that was Frieze Week, I met up with Patricia Margarita Hernandez, Gallery Director/Assistant Curator of P! to check out some openings in the gallery’s neighborhood. We ended up at two solo shows: Chris Burden at Shin Gallery and Patricia Treib at Bureau.

I liked both of them a lot more than she did. Below, we talk nerdy masculinity, whether abstract paintings have content beyond “decor”, weird curating, and bad lighting.

Read the full article →

Girl Power Is Back: Top 10 Shows For Women In 2016

by Emily Colucci on December 21, 2016

Despite the misogynistic horror of Donald Trump’s campaign and eventual election victory, 2016 was a great year for women in the art. There were compelling solo exhibitions by women artists in major institutions, a copious list of all-women group shows and dynamic revivals of unfairly overlooked female artists’ careers. It seems like 2016 marked the return of much-needed 1990’s-style “girl power.”

Granted, there’s still a long way to go for equal representation, particularly for women artists of color. But, hopefully, this is just the beginning. To celebrate this year’s exciting and timely return to feminism, I selected the ten best shows featuring women in 2016. Results below:

Read the full article →

Is 2016 the new 1994? Feminism in the Art World

by Emily Colucci on May 26, 2016

Is recent art history repeating itself? An increasingly long roster of new all-women group exhibitions and their corresponding press seem to suggest so. From blue-chip stalwarts Hauser Wirth & Schimmel and Saatchi to smaller project and artist-run spaces to last night’s Marc Straus opening If Only Bella Abzug Were Here, are all-female group shows an indication of a permanent commitment to gender equality in the art world or is it just another doomed-to-disappear trend?

Read the full article →

Toilet Design, The Visceral, and Zizek at Volta

by Rob Goyanes on March 5, 2016

It’s a grey frigid Thursday, and the cold is not quite dizzying.

Pier 90 juts out onto the Hudson River. In poetry, the volta is the sudden change, the modulation which shifts emotional pitch or cognitive focus. During Armory Week, Volta is the art fair of galleries presenting artist solos. Though I’m unfamiliar with many of the galleries participating, I know immediately the first thing I want to see: my bladder begs.

As relief washes over me, I think of Zizek’s observation that the presence of ideology can be found in toilet design.

Read the full article →

Wednesday Links: Painting Conservatives Using Breasts or Menstrual Blood

by Paddy Johnson Michael Anthony Farley Rea McNamara on September 16, 2015

Irina Romanovskaya has completed a painting of Vladimir Putin using her breasts. I’m not sure what the message is here (feminist critique? From “Mother Russia” with love? Ruble inflation making traditional art supplies prohibitively expensive?) But mostly, it totally looks like the terrifying male face strangers worldwide claim to have seen in their dreams. [The Art Newspaper]

And in other “right-wing politicians and women’s bodies art news”: Sarah Levy, a Portland-based artist, has completed a portrait of Donald Trump using menstrual blood as her medium. It’s titled “Whatever.” [USA Today]

Omar Kholeif has been appointed the Manilow Senior Curator at Chicago’s Museum of Contemporary Art. [Chicago Sun-Times]

Last week, we went to Shin Gallery’s pop-up massage parlor. Apparently the art installation has been attracting visitors of another kind: “Horny guys seeking ‘happy ending’”. [New York Post]

I can hardly wait for this 3D Duchamp chess set to come out. Sounds like the legal hurdles are being cleared. [greg.org]

Casa Mono, the restaurant responsible for the small plate, tapas craze in New York gets three stars from Pete Wells, up one star from ten years ago. I’ve eaten the desserts at this restaurant (and other dishes) and they are indeed delicious. [New York Times]

Related: you can now drink unicorn tears. [Foodbeast]
Everyone’s still binge-watching Narcos, leading to Imgur galleries of the period’s shameless cocaine ads (African ivory spoons and vials!) to television and film prop masters revealing the fake white lady actors are snorting up their noses (inositol, a B-vitamin compound). [Adweek, Hopes&Fears]

A lot of people are freaking out about Facebook’s plans to introduce a Dislike button, leading to deep thoughts about the projected absence of ambivalence (everything will be so divided! Like versus Dislike!) to the practicalities of finally having an appropriate click on sad posts (cause who wants to be the dick that “likes” a miscarriage or death announcement?) [Vice]

A new proposal went public today revising Germany’s controversial cultural protection legislation, which had led to Georg Baselitz pulling all his loaned works from German museums and Gerard Richter threatening to do the same in protest. The legislation originally proposed a tightening of export licensing restricting the sale of cultural artifacts that many said would kill the German art market; now it looks like the export will only affect historically-significant, high value works and not the contemporary art segment. [artnetNews]

“Digital copyright enforcement was once bureaucracies of people talking to other bureaucracies of people. Today it’s robots talking to other robots. On the significance of the decision recently passed on the “dancing baby” copyright case. [Motherboard]

There has been a lot written about the new Broad Museum in Los Angeles. This article is a nice aggregate of the mixed reviews. The verdict seems to be that the Museum is a great, restrained piece of architecture, but that the collection itself is a predictable assortment of blue-chip names that doesn’t have much to say on it’s own. [The Atlantic]

The British painter Angelique Hartigan was alerted by friends that the art collective where she formerly rented a studio sold her paint-splattered carpet as one of her original paintings. [artnet News]

Read the full article →

Monday Links: See You in Court!

by Paddy Johnson Whitney Kimball and Rea McNamara on September 14, 2015

elephant

On Sunday, activists occupied the British Museum to protest the oil industry’s cultural sponsorship of prominent British art museums, coming at the heels at the Tate Modern occupation in June. Since 2011, Britain’s “big four” — the British Museum, alongside the Tate, the National Portrait Gallery and the Royal Opera House — have benefited from a five year £10 sponsorship with BP. With the deal coming up for renewal in 2016, the pressure is on to force the institutions not renew. [The Guardian]
If you’re interested in the connection between science fiction, afrofuturism and social justice, you can watch a livestream today of “Ferguson is the Future”, a public symposium organized by Princeton’s Department of African Studies. [Livestream]
Whatever happened to Google Books? After a 2008 settlement between Google and authors and publishers was thrown out in federal court, the project has languished with congress. Despite the Authors Guild proposing a solution — an “extended collective licensing” system, which would ensure owners of scanned, out-of-print library be able to payout to authors — everyone agrees that an internet full of out-of-print books isn’t going to happen in this lifetime. [New Yorker]
I’ve never been a fan of the internet first-person essay, simply because it’s resulted in so many bad, navel-gazing Thought Catalogue confessionals. Laura Bennett discusses the “first-person industrial complex”, contextualizing it as a post-media industry collapse phenomenon that exploits easy, low-paying clickbait from young writers. [Slate]
The Lower East Side is officially colonized. A condo owner is threatening to sue gallery owner Hong Gyu Shin for the faux massage parlor which is a quirky set for a show of photos by Nobuyoshi Araki. Writes resident in an email published on artnet News:

I live up the street. I paid $1.3 million for my condo at 50 Orchard Street. I have contacted the Dept. of Consumer Affairs, and other city agencies to come investigate and slap a fine on you and your trashy installation and front of a massage parlor. There are prices listed on the door. This is no art installation. We’ve also hired a lawyer to sue Shin Gallery for damages to the value of our condominiums. See you in a Court of Law.

Is this condo owner just straight up crazy? Art as a gentrifying force has become such a known narrative that it’s almost a cliche. This year alone, we’ve seen it used to sell co-working spaces during Bushwick Open Studios and office space during a No Longer Empty show in Harlem. Industry City literally has taken out millions in loans in its plan to use art to become the next Chelsea Piers, and this resident is suing Shin gallery for the pop-up? Some people have money to burn. [artnet News]
The Broad Museum opens. Holland Cotter gives it a mixed review, praising the parts of their collection that focus on under-known Los Angeles artists and criticizing the large number of predictable blue chip masterworks in the collection. Cotter doesn’t care for the Diller, Scofidio and Renfro building either, which he describes as having “the color and texture of gefilte fish”. [The New York Times]
Christopher Knight also complains that the Broad collection is mostly tested, blue chip, art works but he likes the early focus on pop art. Seems like no one’s totally sold on the museum. [The Los Angeles Times]
Looks like AFC may need to provide readers with Panda Cam once again as Republican squabbling threatens to shut down the government (and the Smithsonian’s live panda cam) over Planned Parenthood funding. Ted Cruz and ilk don’t want to compromise with Democrats to pass a budget, preferring to fight for a doomed bill that would defund it entirely. [The New Republic]

Read the full article →

We Went to the LES and the LES Went All Out

by Michael Anthony Farley Whitney Kimball on September 10, 2015

This week, the art world came back from its summer vacation with a bang. Nearly every gallery in the Lower East Side opened their fall season last night with theatrical staging. From ball pits to frame a Baldessari to fooding a gallery basement, big productions were the look.

Read the full article →

Art F City’s Guide to New Art Galleries in New York

by The AFC Staff on April 29, 2015

Looking for new galleries? Done. We’ve found all of New York’s new galleries that have opened post-Sandy. Since 2013 it’s been hard to keep track of all the openings, so this list will hopefully help us all get out to a few new spaces.

Read the full article →

Shin Gallery

Get Our Newsletter!

Like Us On Facebook!

Follow Art F City

What is Art F City?