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Yoko Ono

This Week’s Must-See Art Events: Rejoice! Our Times Are Intolerable and Nasty Women Are Front-and-Center

by Michael Anthony Farley on January 9, 2017
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New York’s week is characterized by two dominant themes: revisiting art history, and women owning “nastiness”. Monday, NYU’s Grey Art Gallery is launching Inventing Downtown, an ambitious look at how artist-run spaces informed the city’s radical aesthetics decades ago. Tuesday, Kate Hush illuminates archetypal feminine deception and betrayal at Cooler Gallery. She’ll be joined by legions of Nasty Women starting Thursday, when the Knockdown Center kicks-off a four-day fundraiser for Planned Parenthood featuring art, dance parties, and more. Alden Projects has a timely survey of Jenny Holzer’s early poster work that opens Friday, and White Columns is opening it’s 11th Annual, Looking Back. That’s but a sampling of the art history-mining going on this week. Stay nasty, New York, and remember that you always have been.

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The Pant Suits Come Off: Yesterday’s Action at Madison Square

by Paddy Johnson on December 20, 2016
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It’s hard to imagine a day for worse news than yesterday. Andrey G. Karlov, a Russian ambassador to Turkey was shot dead while speaking at an art opening the Contemporary Arts Center in the Cankaya area of Ankara. In Berlin, an attack by terrorists killed nine after they plowed a truck into a Christmas market. And what many believed to be our last hope to save democracy, the electoral college, let America down: only two Trump electors defected in the electoral college, while four voted against Clinton. (Congress would have voted for Trump even if 37 voters defected, but the symbolism would have been significant.)

On days like this, it can be easy to lose sight of the work that is being done. Amidst all the set backs, there are people protesting and taking a stand. One such example came yesterday in Madison Square Park, when a small group of 10 women performers stood clustered in the cold wearing pant suits and holding scissors.

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I Went To The Jewish Museum’s “Take Me (I’m Yours)” And All I Got Was This Stupid T-Shirt

by Emily Colucci on December 7, 2016
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A loud, tacky sign emblazoned with “Everything Must Go” would not feel out of place in the Jewish Museum’s current exhibition Take Me (I’m Yours). A rack of plastic goodie bags branded with the exhibition’s title hang in the show’s entrance, encouraging viewers to fill up on artist-made pins, T-shirts, used clothing, candy and a 25-cent ball of air from Yoko Ono. With this free-for-all curatorial style, the exhibit looks more like a display of samples than a contemporary art show.

That’s a bad thing. The whole show feels like a gimmick designed to lure people in the door by offering them free swag. Meanwhile, the Museum is presenting the idea that they are challenging the traditional relationship between art and its viewers, which not only isn’t true (it’s been done to death), it distracts from the sociopolitical critiques made by many of the artists in the show. Simply put, the show is a disaster.

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Video of the Week: Yoko Ono’s Response to Donald Trump

by Michael Anthony Farley on November 11, 2016

We feel you, Yoko, we feel you.

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The Topless Cellist Finally Gets Her Due At The Grey Art Gallery

by Emily Colucci on September 14, 2016
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Resurrecting the forgotten careers of women artists can make for bittersweet exhibitions. On one hand, it’s exciting when a visionary woman finally gets the attention she deserves. On the other hand, the institutionalized sexism that erased her creative input is thoroughly enraging.

Nowhere is this felt more intensely than in A Feast of Astonishments: Charlotte Moorman and the Avant-Garde 1960s-1980s, currently at the Grey Art Gallery. Organized by a curatorial team largely connected to Northwestern University (the show first premiered at their Mary & Leigh Block Museum of Art), the expansive exhibition firmly establishes Charlotte Moorman as a performance art force alongside seminal Fluxus artists like Nam June Paik, John Cage and Yoko Ono. In a response to art historical misogyny, the show essentially returns her artistic agency 25 years after her death in 1991.

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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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“Tierra de Esperanza” Is Yoko Ono Done Right

by Michael Anthony Farley on March 21, 2016
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Last year, MoMA’s Yoko Ono retrospective bombed by taking the fun (and guesswork) out of her work. But in Tierra de Esperanza at Muso Memoria y Tolerancia, Yoko Ono shines with work that’s interactive, alternately playful and political, and sometimes bizarre.

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