(photos: Cassidy Dawn Graves)
Last night starting at 6 pm, thousands gathered in Union Square Park and marched over 40 blocks through the traffic-filled streets to Trump Tower and then to Columbus Circle to express their displeasure with Donald Trump being pronounced America’s next president.
One of the main organizers of the event was Socialist Alternative, a national activist organization wishing to rally against bipartisanism and global capitalism to “build an independent, alternative party of workers and young people.”
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National Sawdust (photo: Nicole Disser)
Last night I was at Gowanus venue Littlefield for Election Night Live, a performance event put on by political musical comedy group Political Subversities. The packed house was high-energy and receptive as they watched sharply-crafted musical numbers and sketches about voting, Michelle Obama, phone banking, lesbian feminists, and loving Hillary Clinton “more than I love my labia.” Interspersed throughout were stand-up sets by folks like Reductress associate editor Nicole Silverberg and comedian Aparna Nancherla, mind-reading magic by Vinny DePonto, and others. Pantsuits and political attire were plentiful, and spirits seemed high, if not a bit frantic and anxious.
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(image courtesy of HarperOne)
For being a somewhat niche concept of a satirical women’s magazine, Reductress really runs the gamut when it comes to content. There’s been their acclaimed and biting homepage dedicated to sexual assault (headlines include: Man Who Sexually Assaulted You Likes Your Facebook Post About Sexual Assault and ‘Most Woman Lie About Rape,’ Says Man Lying About Rape), sadly relatable posts like Woman Thanks Boyfriend For Putting Up With Her Totally Reasonable Behavior, heavy hitters such as Six Thanksgiving Pies that Won’t Fix What Happened In Ferguson, and more absurd moments, like 10 Beautiful Red Carpets You Can’t See Because Blake Lively Is In The Way.
But for their new book How To Win At Feminism: The Definitive Guide To Having It All— And Then Some!, they’ve focused on the topic that seems to be in everyone’s mouths lately: feminism, and how to get it “right.” Throughout six sections and 200 pages, punctuated by Plinky the Fairy Witch (a vibrator-wielding second-wave feminist who speaks in whimsical rhyme and turns out to be “an actual Feminazi”), Oprah, Lena Dunham, Beyoncé, and “Ruth Bader Ginsburg After She’s Had Her Wine,” among others, How To Win At Feminism is an exhaustive and silly exploration into the follies of feminism and the many, many ways to joke about it. And after last night’s news, jokes can help to ease the pain. God only knows how long we’ll have to poke fun at the state of women in this country before the absurd becomes reality. Keep Reading »
Nkiruka J. Oparah, study n° 080415, 2015, digital collage (image via BRIC)
BRIC Biennial: Volume II, Bed Stuy / Crown Heights
Opening Wednesday, November 9 at BRIC, 7 pm to 9 pm. On view through January 15.
BRIC’s largest exhibition to date is centered at Downtown Brooklyn’s BRIC House but also taking place in portions of Crown Heights’s FiveMyles, the Brooklyn Public Library, and the Weeksville Heritage Center. The show’s sprawling spread reflects the artists represented in the show, as all 40 are local to Crown Heights and Bed Stuy. The theme for the exhibit is “Affective Bodies,” placing a focus on “bodily experience rather than on learned knowledge,” a somewhat subversive move in the world of art exhibits, as so many are grounded in theory, explained using highly academic terms, and/or featuring high-class educated folks. Each non-BRIC venue will showcase a different sort of work: Weeksville Heritage artists are focused on the “emotional resonance” people give urban spaces, the Brooklyn Public Library artists use preexisting documents as their source material to create new works, and FiveMyles will focus on performance art. Keep Reading »
Tags: academic gallery
, art openings
, brooklyn public library
, cooper union
, Hauser & Wirth
, Rita Ackermann
, Sean Leonardo
, Weeksville Heritage Center
Dirty Martini (photo: Steven Menendez)
Burlesque has a storied history in New York City. It first appeared in the 1800s, mixed in with other vaudevillian entertainment, and it rose in popularity (and decreased in clothing) until Mayor La Guardia and moral outcry got to it in the 1940s. That’s when many Times Square burlesque theaters closed and attendees of Depression-era shows were reduced to “sex crazed perverts.” Later, many of these very buildings became home to peep shows and sex clubs in the seedier days of Times Square, which in turn suffered a similar fate during the Giuliani-led Disneyfication of the neighborhood in the ’90s. As this was happening, groups of artists in underground venues were bringing creative and often strange stripping back to the city, giving birth to what is now hailed as the neo-burlesque movement.
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(flyer by Chandler Moses, via Facebook)
Thursday, November 3 at Bluestockings Bookstore, 7 pm: FREE.
Now that this show’s title has your attention, let us give you some details. Unless you don’t want them, and wish to blindly saunter into a show called “Comedy Cunt.” That’s admirable. For the rest of you, this is a recurring show, hosted by Arti Gollapudi, where marginalized individuals harness the medium of comedy to delve into their own life experiences. This time around, they’ve got Joe Castle Baker (who recently delivered perhaps the most memorable and manic riff on infomercials I’ve seen, which is impressive, as I love work about infomercials), Ayanna Dookie, Chandler Moses, Katie Fay Behrmann, Amy Zimmer, and Mamoudou N’Diaye, who used to teach science to youngsters. Plus, a “video performance” by Amanda Justice. Might I say, justice is served? Keep Reading »
Tags: abrons arts center
, Arts + Culture
, Bluestockings bookstore
, bowery poetry club
, East Village
, en garde arts
, Lower East Side
, sketch comedy
, the pit loft
Pipilotti Rist, Gnade Donau Gnade (Mercy Danube Mercy), 2013/15.
Installation view: “Komm Schatz, wir stellen die Medien um & fangen
nochmals von vorne an,” Kunsthalle Krems, Austria, 2015. Courtesy the
artist, Hauser & Wirth, and Luhring Augustine. Photo: Lisa Rastl
As artist Pipilotti Rist spoke to a group of journalists last week, soap bubbles floated out of a silver machine and promptly disappeared in a puff of smoke, as part of a 1999 sculptural piece playfully entitled “Nothing.”
“Thank you for your work, being a bridge to the possible audience, being a translator,” she told us. With that bit of kindness, plus a brief statement in support of letting refugees in, we were ushered into Pixel Forest, the three-floor survey of Rist’s video and sculptural work that is equal parts manically psychedelic, serenely meditative, and highly accessible. Keep Reading »
Ink on paper
27.6 x 35.2 cm / 10 7/8 x 13 7/8 in
© The Estate of Philip Guston
Courtesy Hauser & Wirth
Laughter in the Dark, Drawings from 1971 & 1975
Opening Tuesday, November 1 at Hauser & Wirth 22nd Street, 6 pm to 8 pm. On view through January 14.
While our heads are all aflurry with the politics of today, it could be good to take a break, clear your head before you place pen to paper and fill out that absentee ballot, trying not to smudge the ink with your tears of frustration and hopelessness. Though this election season seems truly eternal, there were other presidents, and there was art made about them, too. Hauser & Wirth’s 22nd Street location will be showing a tremendous collection of Philip Guston’s satirical caricature drawings of Richard Nixon, from his well-known “Poor Richard” series to collections of sketches rarely seen by the public, if at all.
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, ayden leroux
, digital art
, East Wiliamsburg
, gallery openings
, Hauser & Wirth
, Idio Gallery
, philip guston
, the current museum of art
, transfer gallery
(photo via Nightcap by Ike / Facebook)
Nightcap By Ike
Thursday, October 27 at Joe’s Pub, 9 pm: $12.
Comedian, solo performer, and all-around entertainer Ikechukwu Ufomadu, oft-described as the theoretical offspring of Woody Allen and Frank Sinatra if such a thing was logically feasible, once again takes to the stage to bring you a “singular mélange” of jokes, special guests, and music. His performances are frequently in the style of a live talk show, infusing an oddly deadpan and NPR-esque affect at times to the typically over-the-top enthusiasm of talk show hosts. Ufomadu also uniquely lives in many aspects of the performance world, with one foot in the comedy world, another in the experimental theater scene, perhaps a hand in performance art and cabaret. Come Thursday, you’ll see it all. But in a digestible, nightcap form.
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R. Luke DuBois
Learning Machine #2, 2016
AVM voting machine (instruction model, blue, ca. 1955), voting booth, computer, camera, lights, screen
The Choice Is Yours
Opening Wednesday October 26 at bitforms gallery, 6 pm to 8 pm. On view through December 23.
It seems to be a near-impossible task to find any sort of political media that does not deal heavily with those two folks with names beginning with D and H. If you’re interested in engaging with the current events but not with the media circus, consider checking out R. Luke DuBois’s solo show, part of LES gallery bitforms’s 15th anniversary season. The exhibition is a questioning of “individual agency,” from basic tasks to those with (supposedly) more weight, like voting.
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Porterspace in Bushwick (photo: Cassidy Dawn Graves)
New York is expensive for business owners (ok, and everybody else), and this can ring especially true for those who run performance spaces. Indeed, commercial successes like Hamilton could lure the ignorant into the sense that it’s very feasible to make live theater work with a long and lucrative life. But that runs contrary to the climate that the smaller spaces and companies exist in, even when they’re the ones creating and initially developing the work that goes on to find success. Keep Reading »
(image courtesy of Pinc Louds)
Pinc Louds may describe themselves as an “imaginary band,” but the type of imagination to dream such a group up is one that is incredibly memorable. Formed about one year ago, the trio consists of Claudi Ausbury, Ofer Bear, and Rai Mundo, and together they play songs that are a magical, whimsical blend of anti-folk, rock, punk, and something wild and theatrical. Though their rather outlandish and colorful appearance could lead some to see them as just a fun concept, their “hardcore acoustic doowop” music is equally transformative, seamlessly going from kind falsetto ballads to a shrieking, raucous number and back again, all while providing fantastical lyrics, and interesting stories.
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