The electro post-rock band Collapsing Scenery has been hailed as “the voice of LA’s new underground,” so it only makes sense that their tripped-out, abstract videos are essential to their music. Cool, but doesn’t every synth-dominated band these days sorta need visuals to make what is by and large a cold-blooded genre cluster feel even remotely emotive? And what’s so special about swiping a bunch of “found footage” from YouTube, throwing on a glitchy distortion filter, and calling it a “short film”? If you answered “yes” and “nothing,” in that order, then you’re exactly right– only, not about Collapsing Scenery.
Panteha Abareshi specializes in cutthroat portraits that pair the rawness of ecstatic creation with the realness of first-hand experience. As a young woman of Jamaican and Iranian descent, it seems only natural that she paints other women who look like her. But according to Abareshi, there’s much more at stake than the physical appearance of her subjects.
“I draw women of color only,” she has said of her effort to bring greater visibility to women who are so often left out of, or invisible, in the art world (not to mention under- and misrepresented everywhere else, too). But there are no smiling models or perfect angels in any of the paintings on view at The Girl Who Loves Roses, a show of Abareshi’s work at the new downtown gallery Larrie, NYC (“It’s a women’s space,” founder Emily Spitale told me). Instead, the women you meet are brooding, suffering, and embattled. Often they are splattered in blood, wearing a vacant expression, and seemingly staring at a target point that hovers right between your eyebrows.
Sometimes I hate my friends. Like right after the release of Pokémon Go. Nearly every single one of them not only downloaded the dang thing, but actually used it in public. In broad daylight. In front of other people. Meeting up for a drink at the bar turned into scavenging the streets for more bars with more Pokémons. This had to be an ironic thing that my pals would forget after a day or two, I assumed. But after weeks of this nihilistic nonsense, I was feeling like so many of the little things that make life tolerable had been invaded by an army of tiny, mind-numbing jerks. Pokémon Go seemed like a harbinger of the kind of voluntary sedation that could become the norm in response to some scary stuff from above. So maybe Oliver Stone came across as just slightly insane when he likened Pokemon Go to “totalitarianism,” but I kind of agree with him. Pokemon Go feels like nothing less than a small, but important sign of the coming cultural apocalypse.
Ugh, the Tribeca Film Festival is up to something cool at Astor Place — but they won’t tell what! Sneaky fellows. What we do is know is that there are folks (volunteers? actors? unsuspecting people on their way to work taken hostage by the crew? sad!) wearing mirrored cubes on their heads and just… standing around near the Cube cube. They’re also being filmed, so our best guess is that it’s an empathy-generating live-installation for some sort of performance art film.
Opening Wednesday March 22 at Foley Gallery, 6 pm to 8 pm. On view through April 30.
Photography is said to be a significant documentation tactic due to its ability to capture reality in its truest form. Particle Paradise, Joseph Desler Costa’s solo show at Foley Gallery, seeks to lay bare the ways one can manipulate the medium of photography to turn it into something sleeker, or even a total rejection of reality. This can happen through tactics like double exposures, cut paper constructions, in-camera editing, or even snapshots of the equipment used to create the photo in the first place.
The show is named for a video game mod that allows players to customize their experience through hacking and tweaking the existing code, allowing the gameplay experience to change oh-so-slightly or immensely. I don’t know about you, but I associate mods with either sneakily downloading sexy clothes for my Sims or that time I bought a Gameshark to use with my Pokemon and it glitched in a way it was not supposed to and I felt fear deep in my heart. Maybe this show will be something like that?
Deathdays aren’t usually cause for celebration, but in the case of Christopher Wallace– better known as Biggie Smalls– it only makes sense to organize an art show dedicated to the late rapper around the afterlife. Without it, 20 Big Years would have denied the necromancy that runs throughout the life work of Notorious B.I.G. (his mere two studio albums are a clear sign that his life was cut too short), and that has come to define his persona after death. Even if all these ghosts still give his fans the willies. As one visitor, pointing to an altered version of Barron Claiborne’s famous photo of Biggie wearing a crown, said to her friend: “That one with the skull–it’s so morbid, but so deep.” (The friend agreed.)
You wake up in a hospital. There is a doctor standing over you in scrubs, running his hand down a clipboard, a mask pulled tight across his face. There’s a vague beeping behind you and the sounds of miserable sobbing coming from somewhere. The beeping grows longer and louder until, all of a sudden, it flat-lines and your consciousness (soul? being?) rises up out of your body. “Let me tell you a secret. . .” a calm, female, British voice says from somewhere as your consciousness floats into a cosmic, hallucinogenic light show on the way to your alien afterlife.
At first it was sort of sad that for this year’s rendition, Spring/Break Art Show had traded its eccentric, labyrinthine location inside a disused section of the historic James A. Farley Post Office in Chelsea for an actual office space. But when the elevator doors opened on the 23rd floor of the Condé Nast building in Midtown, the switch-up immediately made so much sense–because, let’s be real, an artist-led hostile takeover of corporate America is exactly what we need right now (even it it’s just for a few days).
BYO Art for International Women’s Day
Opening Wednesday March 8 at The Living Gallery, 9 pm. One night only.
If you’re a woman creator, walk yourself over to The Living Gallery this Wednesday for the International Women’s Day edition of their recurring BYO Art exhibition. The idea behind BYO Art is simple: just bring your art to the gallery and set it up. If there are any interested buyers present, you’ll get the full amount without the gallery taking a percentage. Since the art present will be contingent on who arrives with stuff they’ve made, there’s really no telling of what you’ll see. It could be something amazing.
This BYO Art is for women artists only in honor of Women’s Day, and will also host a variety of live music and poetry performances starting at 10 pm, including a short set by my band Squidssidy, so come say hi. Anyone can come, of course, despite the creators being only women. The event requests a $5 suggested donation that will go toward the Bushwick Exchange Zine, a publication dedicated to sharing free resources in and around Bushwick.
The annual NADA New York art fair kicked off yesterday in Soho. With a new space (Skylight Clarkson North) and a new time of year (Armory Week), NADA remains a cacophony of serious art enthusiasts and neophytes. Among the 100 exhibitors are a host of downtown galleries like Jack Hanley Gallery, Regina Rex, Rawson Projects, Alden Projects, and Brennan & Griffin. In classic style, nearly everyone was dressed in an all-consuming black. Here’s a look at what was on display this year.
Slide To Expose
Opening Thursday February 23 at Babycastles, 6 pm to 9 pm. On view through March 9.
This “collaborative augmented reality installation” is created by Molly Soda, Nicole Ruggiero, and an augmented reality app called Refrakt. If you’re confused about what augmented reality is, recall Pokemon Go. Two creators known for their “net art” collaborating with a literal app sounds like a match made in heaven. And it seems to be: Slide To Expose plays on themes of digital intimacy and privacy, but does so by asking viewers to scan objects in the gallery to reveal hidden pieces of a life online, like emails or text messages.
On the one hand, art all about online expression and how technology affects our lives can seem like old hat. On the other hand, if you’re getting another chance to take a peek into how an individual person expresses themselves online specifically, you’re going to be getting a unique and different experience every time. Plus, you’re doing so through scanning stuff. When any object could contain a secret, why not give it a whirl? Keep Reading »
Last time we spoke to JJ Brine, the man behind “the official art gallery of Satan,” he told us that Donald J. Trump was “pure poison.” That was in August, right after the Republican National Convention. JJ, the self-declared “Crown Prince of Hell,” refused to say much more about the GOP candidate, even though Brine had his own political agenda: He had just tabled a plan to bring Vector Gallery to Washington D.C. in order to “‘program” the presidential elections and cause “systemic shifts in the geopolitical configuration of power in the Middle East.”