We’re back! It’s been a while since we’ve given you a “We Went To,” but here we are to tell you about the best and worst of what’s on view on the Upper East Side. One fact became clear on this trip: John Baldessari has made a career out of oxymorons.
Our thoughts on Venus Over Manhattan, Higher Pictures, Hauser & Wirth, Marian Goodman, and Tibor de Nagy, inside.
Is “Psychosexual” at Andrew Rafacz gallery a portrait of the collector-psychologist-curator? Is Oliver Henry’s coffee creamer drawing charming? And can a pair of socks ever be a metaphor for the Gaza-Israel conflict? Critics Robin Dluzen and Pedro Vélez discuss.
Last week in part one, we raved about Baltimore. In part two, we discuss an overhung student show at Current Space, room for improvement at Creative Alliance, and a puzzler at Gallery CA. We also find Baltimore’s own version of the Jogging, and a palatial penthouse gallery, Penthouse.
The New York art world may run on cash and glitz, but emerging artists usually don’t. So we’ve been looking around lately to see what it’s like where the money never was to begin with. This week, we went to Baltimore, where the people are still weird, the space is still cheap, the work is still exciting. Let me tell you, the grass is a whole lot greener. May New York never figure that out.
In part one, we visit NUDASHANK’s Conor Backman show, Gallery Four’s Lisa Dillin exhibition, and Sophia Jacob’s Harrison Tyler gallery take-over with writer, artist, curator, and hands-down, best-ever Baltimore tour guide, Michael Farley.
In every “We Went To” post, we leave out a handful of shows that don’t leave much for the imagination or discussion. By now, we figure that ignoring them doesn’t help anyone. This week’s skippables: James Fuentes, Blackston, and Participant, Inc. Those we included: Simon Preston Gallery, Invisible Exports, and Joe Sheftel.