Surface Tension Opening Tuesday, July 31 at Cooler Gallery, 7 pm to 9 pm. On view through August 12.
Some art has sweeping sociopolitical messages, while other art serves a primarily aesthetic purpose. Neither is better or worse: sometimes you want to be provoked into thinking deeply about the world around you and sometimes you just want to be dazzled by how cool something looks. The work of mixed media artist Senem Oezdogan (presented in partnership with Uprise Art) falls more into the latter category, consisting largely of “fiber-based geometric studies” inspired by architecture, shapes, and the textures of fabrics. They’re fairly simple pieces, featuring abstract shapes and rich splashes of color, and manage to convey an alluring calmness in their playful minimalism. Rather than fixating on what message an artwork might be trying to proclaim, Oezdogan’s work invites you to merely appreciate the visuals. If it makes you feel nice, you don’t need to question it. More →
Strange Beach Opening Tuesday, July 24 at Fridman Gallery, 6 pm to 8 pm. On view through August 31.
Summertime is a time for going to the beach, but that’s not what this group exhibition at Fridman Gallery is about, despite the name. Rather, it’s a “metaphor for the body,” framing one’s physical form as a vessel of sorts that can advance, retreat, swallow up others, be intruded upon, amass debris and valuable items alike over time. Three artists comprise Strange Beach: Arghavan Khosravi, Nate Lewis, and Tajh Rust, who incorporate themes of race, social history, portraiture, and the marginalized retaking their own narratives, whether this be through drawing on photographs to create something celestial or painting portraits of people using their own skin tones to inform the color palette. More →
yes no maybe Opening Tuesday, July 17 at Flowers Gallery, 6 pm to 8 pm. On view through August 24.
Thanks to social media, the word “algorithm” is no longer something only mentioned in math class. I’d say for better or for worse, but we all know that people typically invoke talks of The Algorithm when they are complaining about the latest way it’s seeming to screw them over. A new group exhibition at Chelsea’s Flowers Gallery, which takes its title from the mathematical theory of probability, asks five artists to create works using their own algorithmic processes. This may sound intimidating until you realize an algorithm isn’t much more than a purposeful pattern that repeats over time, which is something done in art often. The artists of yes no maybe (all prolific and regarded in their respective fields) take their algorithmic inspiration from topics as varied as geometric microscopic organisms, Berlin’s Tempelhof airport, jazz music, and hypercubes. At the opening, there will be a panel discussion with Beryl Korot, Manfred Mohr and Judith Stenneken, moderated by Zabet Patterson, a professor and writer who focuses on how contemporary art and computing interact. More →
Defining Form Opening Wednesday, July 11 at The Untitled Space, 6 pm to 9 pm. On view through August 1.
When one thinks of sculpture, it’s likely the old masters of yore come to mind: Donatello, Michelangelo, Bernini, even more modern creators like Duchamp and Calder. Something else these artists have in common, in addition to their acclaim and skill, is their gender. Surprise surprise, like most art historical figures, they’re all men. New group show Defining Form seeks to introduce the public to a new, more diverse generation of sculptors. Over 50 artists are participating in the exhibition, which features common motifs of feminism, unconventional materials, and technologically-advanced ways of creating art, such as 3-D printing. So, come and have your notions of what it means to be a sculptor expanded. More →
The 4th of July falls on a Wednesday this year, which for the people with Real Jobs means you probably have to drink less than you would if it was on a weekend. It’s also admittedly a weird and unsettling time to have a holiday that’s supposed to celebrate patriotism and America when in just the past week families were torn apart, children were kept in cages, journalists were shot dead at a local newspaper, and a Supreme Court Justice who occasionally voted in non-conservative ways announced his retirement. Even so, it can be comforting to come together for a little merry-making. If you’re looking for something to do before or after a rooftop party, backyard BBQ, or other outdoor activity, the artists of Con Artist Collective are putting up a show appropriately all about America, whatever that might mean to them. More →
Did you know there is a recently-excavated mass grave in Athens, Greece with contents dating back to 7 B.C., including “eighty shackled skeletons” with great teeth? Artist and current resident at the International Studio and Curatorial Program Hikaru Fujii does, and he’s spent a lot of time documenting and learning about this curious piece of history. The result of this work will be on view in The Primary Fact, the artist’s first solo exhibition in the U.S. It features predominantly video and photography, focusing on the “inconclusive scientific viewpoints” that have emerged about the grave, its contents, and its history. In addition to displaying actual imagery from the Athenian grave, Fujii also assembled a group of Greek men to recreate the choreographic moment of mass execution (presumably due to a political coup) that led to this grave in the first place. More →
Edge of Eden Opening Wednesday, June 20 at Fridman Gallery, 6 pm to 8 pm. On view through July 20.
Maybe all your friends have been to Dia:Beacon, that trendy hub of Minimalist art just a hop, skip, and a jump upstate, but you haven’t made it yet. Fret not—there’s a way to experience it without figuring out how to convince your friend’s roommate to let you use their car. The art and the scenery will be rendered in paint as part of German painter Alina Grasmann’s solo exhibition at Fridman Gallery, Edge of Eden. The show has two components: large paintings of Dia:Beacon’s scenery and art with components of other notable paintings added in, and 40 small oil paintings of Agloe, a fictional New York town dreamt up to prevent map copyright that became real for a spell and then dissipated once more. Combined, the two painting series conjure a New York that’s outside the city and maybe even our reality. More →
art by Laurel Garcia Colvin (image via Robert Mann Gallery / Facebook)
In Her Hands Opening Thursday, June 14 at Robert Mann Gallery, 6 pm to 8 pm. On view through August 17.
It seems more women than ever are running for office, from the two Staceys who recently faced off for Georgia governor to local Congressional challenger Alexandria Ocasio-Cortez, a Latina from the Bronx whose recent campaign ad gathered buzz for being legitimately compelling. Robert Mann Gallery’s newest group exhibition, curated by Orly Cogan and Julie Peppito, showcases a series of portraits of women who are running in the 2018 elections. Adding an additional layer of femininity to the whole affair is the fact that these portraits are made predominantly using craft methods and materials, utilizing a medium historically tied with women and domesticity (and often downplayed in importance due to both of these associations). You’ll see anyone from big-name candidates to unfamiliar face immortalized through quilting, embroidery, and more. More →
Richard Mosse, Love Is The Drug, 2012 (image via apexart)
Light In Wartime Opening Wednesday, June 6 at apexart, 6 pm to 8 pm. On view through July 28.
War has been a near-constant in most people’s lives, whether they intimately know it or not. This exhibition, curated by Rola Khayyat, explores “the gap between understanding wars as historical happenings, and their fictionalized representations in the entertainment world, political realm, and collective consciousness.” Seeking to combine traditional documentary photographs with artistic metaphor and experimental development processes, the work in Light In Wartime predominantly depicts imagery that shows the aftermath of war, from sniper holes to newspaper articles. In viewing these new creations, we may start to form new thoughts about the information related to war we’ve been given for most of our lives. More →
Barton Lidicé Beneš, “Lethal Weapons: Silencer,” 1994. Mixed-media assemblage with artist’s HIV-positive blood, 16 1/8 x 15 1/8 x 3 1/2 in. Collection of Joshua Rechnitz. Courtesy of the estate of Barton Lidicé Beneš and Pavel Zoubok Gallery, New York (image via Visual AIDS / Facebook)
Cell Count Opening Thursday, May 31 at La MaMa Galleria, 6 pm to 8 pm. On view through June 16.
Presented by Visual AIDS and curated by Kyle Croft and Asher Mones, this exhibition zeroes in on the insidious intersection of HIV and incarceration, both today and throughout history. Currently, more than half the states in America have laws in effect that criminalizes the act of potentially exposing someone to HIV without first disclosing their status, often regardless of other factors like viral load or actual transmission risk, leading many to deem them dangerous. The 15+ artists of Cell Count use their work to interrogate these laws and how they affect people with HIV, placing them into conversation with a larger history of “medically sanctioned violence and incarceration.” More →