Take an elevator to the 7th floor of an open-air parking garage, and you’ll find Piston Head, an exhibition of over a dozen artist-designed cars, motorcycles, and trucks shipped from all over the world.
Is Helen Frankenthaler good or just influential? We still can’t tell from Roberta Smith’s descriptive review. [NY Times]
This one’s better. Smith reviews Virginia Overton’s spare but memorable show at Mitchell-Innes & Nash, helping us to solve the mystery of the coffee maker and the bathtub. We’ll have more on that in our upcoming “We Went to Chelsea.” [NY Times]
And because we love Roberta Smith so much, her thoughts on MoCA’s problems. Our favorite bit is when she describes Deitch’s greatest mistake as being optimistic and naive enough to take the job in the first place. She also is very clear that board member Eli Broad is the biggest problem this museum has. [NYTimes]
I want to see a contemporary art show in Boston. Robyn Day offers a clear and satisfying review of “Me Love You Long Time,” a campy-sounding show about sex work and the sex trade, from artists and activists. Sounds like playful engagement with the real world that we’re missing from Chelsea. [Big Red & Shiny]
Facebook’s timeline changed, meh, [Facebook] and prepare to usher in the Smartwatch Revolution. [Daily Beast]
YUHUHUCK. Rattlesnake hearts, and other snake-related photos, in Matt Eich’s Instagram coverage of the annual Sweetwater Rattlesnake Roundup in Texas. [The New Yorker]
Between Gutai and Yevgeniy Fiks, Tyler Green has a strong program in his latest podcast, and, in a leader of ledes, manages to segue from that Wegman puppy GIF to Matisse sculpture. *Snaps*. [MAN, podcast] [MAN, Wegman]
Feared critic Charlie Finch, recently of Artnet, writes a brief, but flaming defense of longtime Artnet editor and painter Walter Robinson’s paintings now up at Dorian Grey Gallery. He claims: “Yet, if only by osmosis, the great ironists of figuration, Currin, Peyton and Yuskavage and their legions of inferiors, owe everything to Walter’s painting, while , as his new show proves, he remains a better painter than them!” [anaba]
The great author Chinua Achebe died today at the age of 82. Now’s a great time to reread “Things Fall Apart.” [CNN]
Art Basel Miami Beach is not fun, but sometimes, through the fluorescent lighting, puzzle-piece layout, and brazen privilege, you see some art you like. This is not a typical sentiment at an art fair, populated as they are with the type of work only a catnipped cat would love. However, this year we—and a few others—noticed something a little fishy: for an art fair, the work was in surprisingly good taste.
Art Basel Miami Beach is, as always, an overwhelming experience. There is art, impossible amounts of it, shiny and glossy and kinetic. There are people, hidden within the silicone husks of slightly younger people, who all seem to be terribly important. There are many kind words but few kind looks.
Basel’s not as bad as it might be, really. This year the fish are biting, and the quality of the work overall is fairly high. There is, in the depths of its 250-odd galleries, art worth looking at. We’ll have a fuller report later today; in the meantime, here are 29 samples of what’s on show, with our comments.
The Kitchen has had a good couple of months program-wise. We raved about Virginia Overton’s site specific sculptures. We should have raved about their group show Creative Destruction, because it was one of the best shows of the year so far. Everyone raved over Matt Wolf’s screening of I Remember, A Film About Joe Brainard. We like what we’ve seen.
Accordingly, we tracked down The Kitchen’s Executive Director Tim Griffin and asked him a few questions.
Good artworks, like good bears, hibernate. For months, they can’t be found; but now, with the gradual lengthening of days, they’re poking their heads back out, and taking refuge in warming galleries.
Art Fag City is here to help. With the assistance of local guides and our own expertise, we’ve determined a few select locations where you may be fortunate enough to see good art in the wild. If you spot it, be sure to be quiet, and move slowly; good art is very easily frightened. Good luck!
This week, another installment of our radical idea of telling people whether the art we saw was any good. As always, it’s a mixed bag; this week we looked at shows by Virginia Overton, Fred Sandback, Stan Douglas, Moyra Davey, Vibha Galhotra, Hans-Peter Feldmann, Douglas Huebler, Dan Walsh, and Ugo Rondione.
This week at The L Magazine, Will Brand and I teamed up to chose our picks for their annual feature Five Art Stars You Need To Know. This year, LaToya Ruby Frazier, Artie Vierkant, Christopher Chiappa, Sarah Braman, and Virginia Overton topped our list. We then spilled over 1200 words on each artist, and peppered them with questions over email.
In response to the growing number of images stored on artist hard drives we’ve decided to publish our IMG MGMT series more frequently! Launching tomorrow, our latest series of image based essays will include contributors, Chris Collins, Paul B. Davis, Sara Ludy, Virginia Overton, RogerWhite + DushkoPetrovich, Z. Drucker + A.L. Steiner, and Tommy White. What’s contained in these essays will mostly remain top secret till the series launch of course but we can tell you that Roger White + Dushko Petrovich promise to e-volutionize art criticism as we know it. That’s happening tomorrow and Thank God for that. I don’t think I could wait another day.