There could be no better statement on the status-driven nature of collecting art than use of the term “affordable’ in describing the art for sale at the 20th annual Affordable Art Fair, running this weekend at The Metropolitan Pavilion. Affordable is defined as something “reasonably priced.” In this particular instance, that means art with a price tag ranging between $100 and $10,000, which begs the question (as it pertains to contemporary art), what the fuck even is “reasonable”?
Is it the price tag in relation to the cost of the materials (srsly, there ain’t enough gold leaf in the world)? Perhaps, it relates to the creative originality of the work, which is a whole different kettle of fish. More likely, it’s something closer to the economic value attached to an artist’s name. This is nothing new. The intersection of art and commerce has long been a topic of heated debate. Yet still, adding insult to injury, this word – affordable.
“This gallery is my baby,” explained Christopher Stout, founder of the Bushwick Art Crit Group. This fall, Stout will host his inaugural exhibition as a gallery owner at his new space, the first of several anticipated art institutions inside an East Williamsburg warehouse space. BACG is “a not-for-profit community resource for everybody,” Stout explained. “But it felt like it was increasingly challenging– in a negative way– to make programming that was about everyone.” In order to host exhibitions that relate to specific subjects that Stout is more personally invested in, without having to worry about “alienating everyone else,” he said, “it really needed to be separate and become its own thing.”
Cara Francis sets up her drone for “Remote” (Photo: Nicole Disser)
Drones– amongst the most controversial technology of our time– as weapons, tools, and toys have given us the opportunity to see things through a new pair of eyes. Curators at Knockdown Center spent months recruiting a bunch of artists to utilize drones in relation to art work, however that may be interpreted.Visitors will have a chance to fly the drones themselves through various obstacle course-like installations and engage with them in participatory performance art like Cara Francis’ Remote in which the artist’s drone interrogates then dances with volunteers.
Special performances are scheduled throughout the exhibition’s tenure.
Artist and animator Penelope Gazin is bringing her freaky-deaky alien ladies and buxom monster broads to Superchief Gallery. The solo exhibition will include some new work, old work, and of course the “Coolumbine” piece that landed Gazin in some trouble with her Etsy shop.
Read more about Penelope and her new Etsy alternative, Witchsy, right over here.
Yes, there are better things playing right now than Mission Impossible number… whatever. Ethan Hunt is the hero to end them all, perhaps, but why make yourself feel any dumber this week than you need to? There’s plenty of time for Tom Cruisin’ (that movie’s got at least a billion more dollars to make back before Scientology’s satisfied), so get tootin’ on some of these other films instead.
Yonatan Gat at home in his studio (Photo: Nicole Disser)
Before meeting the guy, I envisioned Yonatan Gat as some latter-day guitar god, a reincarnation of that tradition of males whose sole purpose in life is to descend from the heavens (or in this case, Israel) at the permanent age of 27 to spend a brief but divine moment here on Earth, shredding away. I wasn’t alone– Yonatan Gat has been dubbed a “composer,” referred to as a “world music-inspired maestro,” and compared to Jimi Hendrix. It seems that whoever’s looking at him perceives Gat as rock-idol progeny. So when I found myself walking up to an actual castle in Brooklyn Heights, my suspicions seemed all but confirmed.
The window for enjoying the spoils of nature shrinks with each passing day. Lest ye forget, winter is coming. Fear not, though, for as sure as there are endless plots prior to George R.R. Martin’s frosty apocalypse, so too does this city hold its own plethora of distractions to occupy these last sun-filled days.
While the rest of the world anticipates next week’s unveiling of the iPhone 7 or iPhone 6s or whatever and prepares to line up all over again, we made a run to an altogether sadder, creepier Apple Store — one that is to the real thing what Banksy’s Dismaland is to Disneyland.
Abdul Abdullah at CHASM in Bushwick (Photo: Nicole Disser)
Looking at Abdul Abdullah‘s work alone might not give you every hint necessary to guess immediately where the 29-year-old artist is from. And seeing him in the flesh, t-shirt and jeans, ordering a beer at bar in Greenpoint, gives you even fewer clues to go on. That’s because in the post-9/11 world, Muslims in countries across the world have had to deal with widespread prejudice, demonization, and deeply confused depictions of their religion and culture, experiences that Abdullah confronts head-on in his paintings and photographs. Turns out Abdullah’s from Australia, but his new solo show, Coming to Terms, is a reminder that the problem of Islamophobia is unfortunately still as potent as ever almost everywhere.
Looking at Abdul Abdullah‘s work alone might not give you every hint necessary to guess immediately where the 29-year-old artist is from. And seeing him in the flesh, t-shirt and jeans, ordering a beer at bar in Greenpoint, gives you even fewer clues to go on. That’s because in the post-9/11 world, Muslims in countries across the world have had to deal with widespread prejudice, demonization, and deeply confused depictions of their religion and culture, experiences that Abdullah confronts head-on in his paintings and photographs. Turns out Abdullah’s from Australia, but his new solo show, Coming to Terms, is a reminder that the problem of Islamophobia is unfortunately still as potent as ever almost everywhere. By appointment only, contact Jessica Holburn: firstname.lastname@example.org
Official Yin Yangs band photo (Photo via the Yin Yangs)
It’s been a big summer for the Yin Yangs, the Brooklyn garage-psych-punk outfit you’ve most likely seen at any number of DIY venues around town. Right before they took off on a Southern tour, the trio played Gigawatts Fest back in July alongside their up-and-coming peers, some of the best rock bands in the city right now (Heaven’s Gate, Surfbort, Vulture Shit, Future Punx, etc.). And in September they’re dropping a new tape, Taste, their first true release since unleashing their digital demos in 2013. Lucky for you we got our grubby paws on “21st Century,” and are premiering the brand new track right here, right now for your listening pleasure.
Penelope Gazin in front of her work (Photo: Nicole Disser)
We’re guessing the world would look a whole lot different if bad ass women like Penelope Gazin had been well-represented in animation and comics from the start. But Gazin has her hand in so many projects, it’s almost as if she’s single-handedly trying to make up for lost time. Her paintings, drawings, and animations have a unique staying power, and will almost certainly end up plastered all over the walls of your skull if you spend some time with them. Gazin’s sassy, hilarious, and sometimes twisted images of alien babes and monster princesses don’t depart amicably.