Tonight, a chasm of art opens up in East Williamsburg. More specifically, tonight marks the beginning of CHASM, a four-day late-night multimedia/nightlife/performance/music event, showcasing some of the most groundbreaking artists working in the Brooklyn scene today. The experience is curated by Julia Sinelnikova, a multimedia artist who often creates under the name The Oracle and is drawn to the usage and interactions of light in her work, whether it be through curation or creation. Keep Reading »
MVMT: a solo exhibition by Brandon Perdomo
Opening Monday December 5 at The Living Gallery, 7 pm to 10:30 pm. One night only.
Multidisciplinary artist Brandon Perdomo presents a one-night-only exhibition, which includes photography and performance work. Though this is a solo exhibition, he has enlisted the help of two performances to fill the night: at 8 pm, Another Lopez, who is the subject of a photo series by Perdomo, will perform a live dance installation piece and at 8:30 pm the silly, catchy, trash-loving band Pinc Louds will be leaving their home base of the NYC subway underground to play a colorful set. There is an $8 suggested donation, vegan dumplings may make an appearance, and BYOB is welcome.
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.
Last week, a mysterious Instagram account began posting photos of Ivanka Trump looking her usual perfect self, primped, stilettoed, and precisely preened to sexy-career-girl perfection. If you were scrolling too quickly, you might have mistaken @dear_ivanka for a fan account, with over 7,5oo followers. But it was actually the first satirical social media action of Halt Action Group, a grassroots protest organization that’s appealing to Ivanka as the Trump administration’s “voice of reason.”
Black Women Artists for Black Lives Matter: Holiday Screening & Reception
Monday, November 28 at The Kitchen, 6:30 pm to 8:30 pm. Sondra Perry: Resident Evil on view through December 10.
Black Women Artists for Black Lives Matter, aka BWA for BLM, is a fairly self-explanatory “collective force underground” group formed in July 2016 in response to the continual systemic violence perpetuated against black bodies in America. This evening, the group is taking over experimental performance and art space The Kitchen to show a series of videos, both archives of past performances the group has done and videos created by members of the group, all while beats by DJ LotusMoon infiltrate your ears.
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.
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.
A new art show at the Fortnight Institute is flipping the script on a persistent imbalance in the art world. While men still dominate the major museums, massive retrospectives, and money-makers of the art market, most of the weens found at DICKS (on view now through December 4) are actually nailed to the wall.
All but one of the eight participating artists are women, and each artwork included in the show (paintings, photography, and sculpture) is strikingly phallocentric and jarringly figurative. DICKS is so literal in its approach to the ding-dong (arguably the most hilarious feature associated with the male anatomy) that the show was announced without explanation. The title, and a glimpse of Betty Tompkins’s contribution, Dick Painting #3, said it all.