In December 2016, we spoke with artist and curator Julia Sinelnikova (known in some circles as The Oracle) about her festival CHASM, which intended to be four days of music, multimedia art, DJ sets, and more in a secret, industrial East Williamsburg location. However, four days became just two—it was cut short out of fear of a raid, as the city was in the midst of increased crackdowns on DIY spaces following the deadly Ghost Ship fire in Oakland. Keep Reading »
Last week at Bushwick gallery Powrplnt, a group of colorfully-dressed folk sat down and discussed gender. They spoke of societal constructs, deadnames, toxic masculinity, and how norms surrounding body hair can be racist, all while surrounded by eager listeners and an array of art and zines. While some gallery exhibitions have just one night of special programming, this was but one mere component of the multifaceted Death Becomes Her, a show curated by Liberian-American multidisciplinary Vei Darling exploring how concepts of death and femininity intersect in both spirituality and society. Keep Reading »
Opening Thursday, August 24 at Paradice Palase, 4 pm to 9 pm. One night only.
Ok, to ease your nerves (or disappoint you), this isn’t an exhibition of an actual body farm. If you’re unfamiliar with the term, body farms are decomposition research facilities. So then, what is this Body Farm? It’s a one-night-only pop-up exhibition being put on by Paradice Palase, a Brooklyn space that “believes in a community-supported gallery model and getting artists paid for their efforts.” TBH, really all you have to say is that this is an organization that cares about paying artists and that would make their show worth going to. Plus, there seems to be a neon pineapple sign involved, which sounds fun. Keep Reading »
Lorna Simpson is returning to Salon 94 for her third exhibition at the Bowery gallery. The Brooklyn-born artist became well-known in the mid-’80s for her large-scale works combining photography and textual elements with watercolor, ink, or acrylic paint, and creating nuanced statements on contemporary society’s perception of race, gender, and identity. Her show at Salon 94, opening September 8, will feature a number of paintings that premiered in the 55th Venice Biennale.
As of today, a new body of work by Kim Gordon is living at 303 Gallery in Chelsea, a white box like most others on this slick block of 24th Street that’s all glass, steel, and tourists. Naturally, we’re excited. Kim Gordon Week may be long over, but we’re still obsessed with the musician-designer-artist-author who for some of us (me) is our girlhood hero. But on my visit, I was trying to keep things pure — hoping to avoid any unwanted osmosis from an artist statement or a pre-determined explanation to fulfill, I darted straight back to the art, resisting the temptation to pick at the stack of press releases for Design Office: The City is a Garden.
Dina Gadia’s pulpy, graphic collages, now on view at Greenpoint’s Owen James Gallery, bring to mind a ’50s wholesomeness and tropical kitsch while at the same time challenging it. Her collages are at once subtle and unabashedly clear, familiar and obscure, paradoxes that hold fast because Gadia, a Filipino artist living and working in Manila, is working in two, if not three registers by exploring the impact of Spanish but especially American influence on Filipino culture.