Agathe Snow, whose work often blends performance with immersive multimedia installations, is opening a new show, Continuum, tonight. This is the Corsican-born artist’s first solo exhibition at Journal Gallery in Williamsburg. Snow is the ex-wife of the late Dash Snow (they married when he was just 18 years old) whose pal Ryan McGinley has some new photos up, incidentally, in a show called Winter at Team Gallery.
I’m not gonna lie, when I heard Wild Torus— the aggressively psychedelic Bushwick performance art duo– would be hosting their “most ambitious event yet” this weekend, I imagined a sweaty, gyrating orgy of disembodied tentacles coated in globs of indecipherable goo, or “Torus Juice” as it’s known (it’s actually corn syrup). Not exactly gallery material. When I first encountered Wild Torus’ cult-like “digital spirituality” rituals at their Bushwick home base, Torus Portus, I had never seen anything like it– and I haven’t seen anything to match it since.
As I walked through the Friday night rain, clutching an umbrella with a price that far exceeded its quality, I felt lost. I was looking for the Williamsburg Art and Historical Center, which that evening was opening Queer WAH, an exhibition of contemporary work by queer artists. Little did I know the shabby green door I had confusedly paused by was the very place. Despite the official sounding name that calls to mind tours and pamphlets, the WAH Center sat far more unassuming than I had initially guessed.
Christopher Stout, founder of Bushwick Art Crit Group, has just opened his gallery in the disputed territory of East Williamsburg, the realization of plans we first heard about in early September. I had a chance to check the place out on Friday, and found that Stout is already keeping good on his pledge to show “subversive art.” The centerpiece of the gallery’s inaugural show, Shepard by Phoenix Lindsey-Hall, is a massive, meticulously crafted porcelain replica of the iconic fence Matthew Shepard (the victim of a notorious hate crime) was bound to before he was tortured and left for dead back in 1998. Not easy-to-swallow material, to say the least.
Read more about the gallery and the exhibition here.
Founder of the Bushwick Art Crit Group, Christopher Stout is now the head of his own gallery, which has its very first art opening with sculptor Phoenix Lindsey Hall’s solo exhibition, “Shepard.” The centerpiece of the show, a 14-foot replica of the fence Matthew Shepard was chained to while his assailants tortured him to death, is a stark confrontation with a symbol of hate and anti-gay violence. “It’s a very somber show,” Stout explained. “New York tends to show very serious work in the fall and it seems like a very important way but also a very different way to talk about some of the issues we’re interested in exploring.”
Read more about the gallery here.
Tonight a gallery in Brooklyn opens with the grand purpose of helping you deal with the weight of life’s mysteries. That’s not to say Stephen Romano, curator and gallery namesake, is offering any answers. Instead “Lexicon Infernali,” the gallery’s debut exhibit, is a window into a world of questions, inviting visitors to take a trip down the rabbit hole of visionary art.
Last year, Clayton Patterson announced that he and Elsa Rensaa, his partner and collaborator of more than 40 years, were moving from the Lower East Side to a small spa town in Austria. Lucky for anyone who admires his unflagging commitment to keeping it real and his tirades against the processes of gentrification and corporatization (see: his damning of Taylor Swift as the city’s cultural ambassador), the 66-year-old outsider artist, photographer, tattoo artist, dissident, and haberdasher who is known to many as the neighborhood’s “last bohemian” is not just still residing there, he also has a new solo exhibition. If you haven’t had a chance to see “Outside In” at Howl! Happening, tonight is the night to do so: the gallery will be screening Captured, the must-see documentary about Clayton’s obsessive documentation of the city as it once was.
I’d never seen art move so quickly off the walls as I did last night at Con Artist Collective‘s Lower East Side gallery. Things were so hectic that it was difficult even to talk to founder Brian Shevlin about the unusual exhibition. His eyes were too busy darting to and from the small, rectangular pieces of art as they were gently taken off the walls, wrapped in red plastic bags, and quickly replaced by more art works. It felt like a feeding frenzy, and I couldn’t help but join in. Snagging some art myself, I realized I’d never even considered buying art in a gallery before this. I mean, definitely the $20 price tag had something, a lot, to do with making an already appealing piece of work feel accessible. “We did this based on Bread & Puppet Theater’s Why Cheap Art? Manifesto,” Shevlin explained. “Basically, we believe that artists should be required to make cheap art.”
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.
For once count yourself lucky if you missed an art opening. Synaesthetics, a new exhibition at Reverse Gallery in Williamsburg opened last Friday; sure, there was free booze and great people watching, but the two interactive installations that are featured and the trans-sensory trips they inspire are best experienced in isolation or maybe at most with one other partner. Both Eunoia II, by Lisa Park, and Format No. 1, by Louise Foo and Martha Skou, strangely mimic our increasingly digital experience of the world, which is itself a lonesome, disconnected way of engaging with people more and more through social media.
A press release from Arts in Bushwick paints the broad strokes for this year’s Bushwick Open Studios, coming June 5-7. There aren’t many details just yet, but there’s always a ton to do aside from gawking at artists’ workspaces. Our itinerary last year included a concert by Broke MC and Life Size Maps, a rooftop dance party at House of Screwball and a live painting contest at EXIT Room, all in the same night.
Here’s the scroop, straight from the horse’s mouth.