The festival was the brainchild of a man who goes by MARS, the CEO of the Tokyo-based animation studio and creative ad agency Hot Zipang. MARS realized that Americans, happy to eat frankensushi in the ’80s, have since become more attuned to Japanese culture, to the degree that umami is now a part of their vocabulary. He decided this was a good time to showcase the country’s offerings.
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Cotton Candy Machine, the South Williamsburg gallery owned by painter Tara McPherson and her partner Sean Leonard, is sending out a call for help. “Cotton Candy Machine needs your support,” reads an Instagram caption. “We just celebrated our 4 year anniversary here at the Art Boutique and Gallery and they say the first 5 years are the hardest for a small business. I hope the hardest years are behind us, but right now we need your help.”
Tis the season to celebrate the Lower East Side, so get thee to “Punks, Losers, Screw-ups and Goofballs,” a new exhibit at the recently opened 174 Rivington Street Bar and Gallery that celebrates the art of Cliff Mott.
Saws aren’t just for Texas chainsaw massacres — they can also be put to use by musicians, as the New York City Musical Saw Festival will show. Now in its eleventh edition, the event, presented by Natalia “Saw Lady” Paruz, will gather about 50 saw players from all over the world, from a 95-year-old who’s been playing for 75 years to a saw savant who’ll join the Astoria Symphonic Choir for a rendition of Mozart’s “Ave Verum Corpus.”
Composer Scott Munson, who wrote the soundtrack of Another Earth, will present a new arrangement of his work, where the saw will be accompanied by bells. There’ll be an orchestra of 20 players from Japan and, for the first time, a British “invasion,” with six participants coming from the United Kingdom.
I was lying on a yoga mat in a Bushwick loft with two quartz minerals on either side of my head, when the “art witch” placed a selenite crystal just below my chest. I had just gone through a soul-searching tarot reading session in which a preponderance of pentacles revealed that I had to be more systematic and less feverish about pursuing my goals, while the ace of wands (with its phallic symbology) insured I had the “fire” to keep going.
The group of Pratt alums who opened Pokito were tired of the typical Williamsburg look — “it’s all the re-claimed woods, steel, dark, all the Edison filament bulbs,” said Alex Kleinberg — so they opened a spot on South 4th Street that has a clean, sleek, tile-and-marble dining room where LED lights emitting a rainbow-like glow.
Time again for our weekly roundup of what’s new on the art scene.
Buccaneer, Masquerade, Suspence, Abundance, Thorn, Champion. Recent works by Brice Brown
April 17 (opening reception 7-9pm) to May 23 at Air Circulation, 160 Randolph St., Bushwick.
Kentucky-born artist Brice Brown created a multi-part installation meant to present a fragmented experienece of the still life genre as a way to explore “the dichotomous impulses inherent in the act of domestication: containment and freedom; restraint and release; a need for chaos and a need for order,” per the artist’s statement. The installation, largely consisting of archival pigment prints, wallpaper design and soft sculpture, draws from The Batsford Colour Book of Roses (1962) and pages from an early 20th century fruit and seed catalog. References to the letterhead design of constructivist-influenced masters such as Piet Zwart are embedded in the pieces.
Yesterday we stopped by D & F Contemporary, a new gallery located in a former discount lingerie store at the corner of Delancey and Orchard, to chat with Don Devore of New York hardcore band Sick Feeling. He’d been at the gallery for the past 30 hours, creating an immersive, one-night-only installation to coincide with the release of “Metaphysical Cops,” the new single and music video by his electro project Collapsing Scenery.
One recent morning in Tara McPherson’s Bed-Stuy studio, the artist’s easel was loaded with sketches of two nearly identical girls connected by a sparkling rainbow springing from inside their heads. The drawing was also on her iMac, where she had been working on a color mockup in Photoshop. A finished 12 x 12 painting, she explained, was due the following Monday for “Dreamlands,” a group show now open at Corey Helford Gallery in Los Angeles.
Last week’s roundup of art openings touched on mythology and mysticism (most of those shows are still on, so go now). This week, it’s all about deconstruct, abstraction, illusion, order and chaos.
Alicia DeBrincat: Digital Interference/Analog Intervention
April 9 (opening reception 7-10pm) to April 28 at Vitrina, 90 Stanton St., Lower East Side.
Brooklyn-based artist Alicia DeBrincat is interested in the collision of photography and painting as two very different ways of presenting “visual truth”: she transfers photos, whether archival or taken by herself, onto canvas and then leaves gaps in the photographic images — oftentimes, the face is what’s left out. These gaps are then filled with brightly colored paintings. At this show, you’ll see embellished versions of celebrity mugshots from victimless crimes, e.g. Elvis’s arrest for lewd dancing or David Bowie’s arrest for marijuana possession, along with archival photos of powerful cultural figures from the past including Queen Victoria, Buffalo Bill, and Wyatt Earp.