The last time I saw a bunch of RAE BK‘s work all in one place was in 2015, just after the street artist and Brooklyn-native had opened his guerrilla-style solo exhibition in Chinatown. But the show wasn’t held at a gallery, instead RAE’s site-specific installation was housed inside a dingy old basement, accessible only by way of an unmarked, totally unassuming rust-red metal door adjacent to a bustling produce market. Even then, I was so jaded that I couldn’t allow myself to believe that this was a real basement with real dirt and dust everywhere. But actually it wasn’t just a fancy pop-up rental space with a stage-grit makeover, nor was it an attempt by some developer to “activate” a particular corner before the building was torn down. As RAE told me, the basement was simply on loan from a recently-retired butcher with whom he had a “tentative relationship,” and the show, called Trunk Work, was one of those rare art happenings that was both real and strange.
On a chilly but pleasant afternoon, a group of people sat at tables in Soho art space Recess, poring over strips of film. One person scratches designs onto a strip, another adds metallic star-shaped stickers. Croatia-born artist Željka Blakšić, who also uses the name Gita Blak, has been conducting what she calls a “direct filmmaking workshop.” In it, 16mm film strips are directly altered through the use of collage, drawing, scratching, and other tactics. Each person’s customized film strip is individual, but soon they will all be assembled into one motley creation, fed into a projector, and screened for all its creators to behold.
Tackling the topic of feminism is a monumental task for any art exhibition, let alone one that fits inside a downtown art space called White Box–which you already know, or maybe just guessed, is not all that enormous. Even if the curator had the MoMA to herself, a show like this would require some epic planning. And from the viewer’s perspective? Yeah right. Seeing everything in one go would be require an Odyssean attention span which, let’s be real, just doesn’t exist anymore.
So when curator Lara Pan was commissioned by the non-profit art space White Box to put together a show “about women,” she and her co-curator Ruben Natal-San Miguel came up with Supercalifragilisticexpialidocious (on view through January 21), a 27-piece show that fits neatly within a realm of feminism she knows well. She may have felt compelled to whittle down the larger theme, but she managed to keep the feeling of an epic, history-sweeping, time-spanning, half-the-human-race, cross-culturally inclusive narrative. At the same time, the show defies what we’ve come to expect from women’s art exhibitions: those one-note, temporary deviations from the default (i.e. white men) that are plagued by tokenism, tiptoeing, stale themes, and work that’s about as revolutionary as a closet full of pantsuits.
Queer-themed art shows are having a moment right now, and we can only expect that trend to continue as we enter a time of uncertainty about the future of LGBTQ rights in this country (and those of all marginalized people, really). An ongoing exhibition called Like Smoke (on view through December 4 at the New York Artists Equity Association on the Lower East Side) feels so right-now in that way. The show mines gay history and examines the ways in which oppression, both past and persistent, still creep into the present. Though it examines the queer body, you won’t see any actual bodies on display. Instead there’s a great gaping black hole, phantoms from the past, and a lingering sense of absence.
If you’ve been saving up all your anger from the last two weeks and would perhaps like to slap it on a canvas in a blind rage to create art that will then be shown to the public, keep reading. Tribeca gallery The Untitled Space has put out an open call inviting women artists to submit work for a show called Angry Women, to open in mid-January. Artists are asked to “respond to the political and social climate as well as explore themes revolving around feminism today and female empowerment.”
The obstacles faced by the more than 2.3 million incarcerated people in the United States today are enormous, and the consequences of the prison system are felt by whole communities, families, and the 5 million children who have at least one parent either currently or previously imprisoned.
If your blood hasn’t stopped boiling since last Tuesday, a weekend art show could be a chance to find some semblance of catharsis. This Saturday, the fifth iteration of the RE: Art Show opens, once again taking over a portion of the old Pfizer Building at 630 Flushing in Bed-Stuy. Last month’s edition of the show featured the celebrated group exhibit Fatter IRL. This month’s Re:Re:Re:Re:Re: will take place in an area of the building that perhaps most reflects the state of affairs in this country, as it appears to be in shambles. A press release states the gallery area will be a “large, open, unfinished space with chipped paint, exposed wiring, and fire alarm components dangling from the ceiling.” May we try our best to hang on to the “unfinished” aspect of that to give us a kernel of hope to keep on going. Call your senators!
Nowadays, Soho is mostly known for luxury shopping rather than the groundbreaking artistic work for which it was known in the past. Earlier this month, a new space for digital art called The Current Museum opened its doors at a temporary location on Sullivan Street. Its group exhibit Test Patterns takes digital art out of the box (screen) and showcases digitally-influenced works of all mediums and forms. Keep Reading »
“Preservationist” has become something of a slur, used to denigrate the old-timers and neo-hippies who’d rather save ratty old tenant buildings and dusty mom-and-pop stores than make way for clean big-box stores with cheap stuff for everyone, and skyscraping mixed-use luxury complexes with their affordable housing pittance. It’s sorta like: C’mon, New York City is, by its nature, dynamic and changing. But the ever-faster pace of development and the lightyear rate of change have made for an urban landscape where transformation takes place exponentially and squeezes out the very people who have made this city vibrant and interesting in the first place.
Over the weekend, a slew of more than 40 local and visiting artists, as well as organizations like the Chinatown Art Brigade (a grassroots effort tackling the divisive issue of gallery-led gentrification in their neighborhood) demonstrated that preservation doesn’t have to be backward-looking.
Since Thursday, the white walls at Eric Firestone Gallery have been wholly devoted to just a small portion of Henry Chalfant’s archive of “subway photographs.” Henry Chalfant: 1980 focuses on a year in which graffiti was still regarded as subversive and dangerous. At the same time, street art was at its most vibrant and anarchic. The work offers not only a trip back to the “golden age of graffiti,” but a thorough “visual anthropology,” as Chalfant describes it– a studied view of street culture back when it actually came from the streets.
This election cycle has been louder than most, with red-faced screaming, epic shout-downs, and showers of insults pummeling over political decorum. The Choice Is Yours, a new art show grown out of the clunky mechanical levers of cumbersome voting machines, feels unusually quiet by comparison, almost to the point of being meditative.
“I thought it would be fun to turn them into these choice machines,” the artist, R. Luke DuBois explained. “Maybe it makes you think twice when you get into an actual voting booth on Tuesday.”
Attending an art opening usually means agreeing to a trade-off: in exchange for free booze and the company of other humans, you won’t be seeing much, if any of the art work. But at “Slow, Dimwitted Carnage,” the second exhibition from newcomer gallery Coustof Waxman, guests can have their art and, um, drink it too.