Put on your Masonic robes and pick up your scythes (unsharpened, please). A slew of experimental musicians and out-there visual artists will gather at Microscope Gallery this Friday to perform Satanic rites amidst heavy drone music and beelzebubian projections.
Glancing at Eric Corriel’s new show at Garis and Hahn, you might think the works are strange zoomed-in views of plant life. Or maybe they’re depictions of those tiny glowing jellyfish you once saw at the aquarium. Or are those mold spores? Maps?
It’s not usually the case that filling out a revealing questionnaire, waiting in line, and encountering someone with a lot of tools at their disposal ends up being fun. Like, ever. But people who participated in Custom Melodies, an exhibition held last summer by Grey Gersten (aka the musician known as Eternal Lips) left not with a sinking sense of shame, but an original song composed according to their unique personality traits and experiences. (You can explore the melodies on this special, interactive website, which launched today.)
The panting dog was somewhat unsettling, but the click of a digital camera was just plain upsetting, because both seemed to violate the air of silence and vulnerability as Lisa Levy sat naked on a toilet seat in an ironic homage to Marina Abramović’s The Artist is Present. Then again, these weird ways of interacting with the artist were more exciting to watch than people who approached the porcelain throne and looking blankly at Levy for what could easily be dismissed as a glorified staring contest.
Tonight’s your very last chance to say goodbye to the Montrose Avenue location of Alt Space– the netty, uber-hip physical incarnation of Alt Citizen. We told you last week that the gallery slash super-fetch fashion boutique would close at the end of the month, and now the time is upon us. But we also promised you more deets about where founder Nasa Hadizadeh and the Alt crew would be headed.
I had a hard time believing I was in the right place, what with shattered glass scattered everywhere and the absence of a sign. I’ve been to a few galleries in my day, but none that looked like a party house from the outside. I was just about to turn around when a woman with neon yellow streaks in her dark hair, swung open the old door and invited me into the dark-red brick building’s castle-like space. Piril Gunduz– the founder of this Bushwick art space, The Hollows– apologized for the broken window downstairs. “What happened?” I wondered. She shrugged. Strange, but it was actually broken windows at a brand new development next door that inspired Piril to curate an ongoing program called Bushwick in Time.
Rice paper aerobics exercises, blotchy watercolor eeriness, and vast colorful landscapes all intermingle in a dance of shapes and shades in Phantasmagoria, an exhibit of works on paper that opened this past Friday at Bushwick’s IDIO Gallery, curated by Gillian Zinser and IDIO’s director Montana Simone.
For the second time since his eponymous Bushwick gallery opened, Christopher Stout logged onto Facebook to find that his account had been frozen. The gallerist, whose interest lies in “subversive art,” had posted an image of Lisa Levy, who plans to sit naked on top of a toilet for two straight days in order to call out “the bullshit trendy art dialogue” that she says is plaguing the art world. The image shows the long-haired artist sitting sideways, naked. “You can see her top, but you can’t see her bottom,” Stout said. “It’s just such a crazy, conservative kind of standard.”
What exactly is an expedition, who goes on them, and why? That’s what curators Shona Kitchen, Aly Ogasian, and Jennifer Dalton Vincent set out to explore in Setting Out, their exhibition of expeditions (say that five times fast) large and small, real and imagined.
The past half-year has been a busy one at Alt Space, the gallery/boutique presence of Alt Citizen, the online/print culture mag devoted especially to music. They’ve hosted all kind of exhibitions, from sassy net-art shows to pop-up shops featuring their own lineup of hip, small-run clothing and goods curated specially by artists like photographer Anna Bloda (whose work is starting to look like it was shot by a Millennial Richard Kern). From this angle, Alt Space always looked packed with fresh, accessible art and covetable wares (they even went live with the stuff), but turns out their current space at 41 Montrose Avenue is no longer ideal.
“Ordinary morality is only for ordinary people,” Aleister Crowley once said. That maxim echoes inside the walls of a new exhibit at 80WSE, Language of the Birds: Occult and Art. Even now, when dabbling in the occult has become morally ambiguous rather than universally derided, the work shown at NYU Steinhardt’s gallery is far from ordinary. Spanning the beginning of the last century to the present day, its authors range from avant-garde filmmakers (Kenneth Anger), to spiritual philosophers (Aleister Crowley), to industrial music makers (Genesis Breyer P-Orridge), and “just” plain artists (Kiki Smith). Somehow these varied participants share a similar worldview, which they’ve communicated (at various points in time) through symbols and talismans that have remained fairly static throughout.
In the late 1990s, Catherine Opie drove across the country, taking photos of lesbian families in and around their homes. The resulting series, Domestic, (which Opie, who herself is gay, said was an attempt to document “the lesbian dream’’) contains a still life of a washer and dryer, which the photographer joked was “a lesbian washer and dryer.” Because, as she put it, “it’s the same thing.” An ongoing pair of solo exhibitions, Portraits and Landscapes and 700 Nimes Road, at the Lehmann Maupin gallery locations in Chelsea and on the Lower East Side, respectively, also readjust our expectations about the artist and her long-held role as a “provocateur.”