thecatamites, Magic Wand, 2016, Video game, Dimensions variable (still) (image via apexart)

Dire Jank
Opening Wednesday, March 20 at apexart, 6 pm to 8 pm. On view through May 19. 

It’s usually considered good and impressive for something digitally created to look flawless, almost like it wasn’t created by humans to begin with. Usually this process is time-consuming; it almost always involves some sort of expensive software, or equipment, or graduate degrees. Dire Jank, an exhibition of games, videos, and digital art curated by Porpentine Charity Heartscape, celebrates pretty much everything that isn’t that. Pixelated images, old Photo Booth filters, outdated Flash games, glitches, and more are put on a pedestal here, valued more than the glossy, hyper-realistic creations that modern technology can create.

(image via Howl Happening)

Cut Work
Opening Thursday, March 21 at Howl Happening, 6 pm to 9 pm. On view through April 14. 

Making art is often time-consuming, involving a significant amount of not only creative energy, but also good old fashioned manual labor. A prime example of this is former fashion designer Elizabeth Gregory-Gruen’s work, which largely consists of layers upon layers of cut paper. Gregory-Gruen uses a scalpel to carve out her desired shapes, but does so freehand, devising the final product’s shape as the vast number of layers accumulate. Rather than haphazard, the result is intricate and meticulous, but with a refreshingly human touch. Sometimes this human touch gets violent—she’s been known to shoot her works with a 12-gauge shotgun for an added modification.

Left to right: Andrew Cornell Robinson, Better Nouveau Than Never (A Congregation of Wits, Double Red), 2018, Monoprint, silkscreen, on paper, 30”x40”; Matt Rota, The Pit, Pen and ink, 2013, 22”x30” (image via Equity Gallery)

Opening Thursday, March 21 at Equity Gallery, 6 pm to 8 pm. On view through April 13. 

Most images (and written works, one might also argue) begin with some sort of line. In many cases, these lines fade into the rest of the work, acting more like starting points or foundations than something to actually make much of a fuss over. But in Hard-Line, a duo show opening at Equity Gallery, lines are the talk of the town. The show features work by Andrew Cornell Robinson and Matt Rota, but don’t expect a display of minimalist, abstract lines only. The two artists, while prioritizing lines, still use them in unexpected ways—Robinson combines text, slashes of color, and a cornucopia of objects in his free-associative works on paper inspired by communal Roman sculptures, while Rota’s pen and ink drawings use detailed linework to sketch scenes of landscapes impacted by global warming.