Work by Panteha Abareshi (Image courtesy of Larrie, NYC and the artist)
Panteha Abareshi specializes in cutthroat portraits that pair the rawness of ecstatic creation with the realness of first-hand experience. As a young woman of Jamaican and Iranian descent, it seems only natural that she paints other women who look like her. But according to Abareshi, there’s much more at stake than the physical appearance of her subjects.
“I draw women of color only,” she has said of her effort to bring greater visibility to women who are so often left out of, or invisible, in the art world (not to mention under- and misrepresented everywhere else, too). But there are no smiling models or perfect angels in any of the paintings on view at The Girl Who Loves Roses, a show of Abareshi’s work at the new downtown gallery Larrie, NYC (“It’s a women’s space,” founder Emily Spitale told me). Instead, the women you meet are brooding, suffering, and embattled. Often they are splattered in blood, wearing a vacant expression, and seemingly staring at a target point that hovers right between your eyebrows.
If you’ve been saving up all your anger from the last two weeks and would perhaps like to slap it on a canvas in a blind rage to create art that will then be shown to the public, keep reading. Tribeca gallery The Untitled Space has put out an open call inviting women artists to submit work for a show called Angry Women, to open in mid-January. Artists are asked to “respond to the political and social climate as well as explore themes revolving around feminism today and female empowerment.”
Henry Chalfant’s subway photographs now on view (Image courtesy of Eric Firestone Gallery)
Since Thursday, the white walls at Eric Firestone Gallery have been wholly devoted to just a small portion of Henry Chalfant’s archive of “subway photographs.” Henry Chalfant: 1980 focuses on a year in which graffiti was still regarded as subversive and dangerous. At the same time, street art was at its most vibrant and anarchic. The work offers not only a trip back to the “golden age of graffiti,” but a thorough “visual anthropology,” as Chalfant describes it– a studied view of street culture back when it actually came from the streets.
Since it was announced that Bushwick Open Studios will be taking place in October and not on their usual summer date, a couple fledgling fests have tried to fill the void. There’s been the Bushwick Arts Festival, which was a bit of a letdown, and the Bushwick Galleries Association’s Hot Summer Nights of extended hours, which are great but for galleries only. So when we heard tell of a new Bushwick art festival called the Bushwick Open Art Fair, we were skeptical. What would make their “Bears on Bicycles”-themed fair different from the other upstarts? But then the organizers told us they’re “currently looking into the permits required to have live animals at the show.” More →
Lisa Levy performing “Rockin’ Granny Love,” Diego Barnes in her arms at Bushwick Open Studios 2015 (Photo: Jordan Abosch)
Stephanie Theodore of Theodore:Art was massively disappointed when Arts in Bushwick announced that Bushwick Open Studios was moving from summer to fall in an attempt to close the door on an eight-year tradition. But AiB had their reasons– BOS had ballooned into something of circus, an event that they believe had been co-opted and used by corporate interests and party promoters looking to cash-in on the thousands of people who swarmed the neighborhood each June. But galleries and individual artists also benefitted from the huge influx of people and the visibility that BOS brought to the area, so Theodore was hardly alone. “A lot of other galleries wanted something to replace BOS,” she told B+B over the phone today.
“Cat on a Clothesline (Red)” Jeff Koons at FLAG Art Foundation
Last week, when Jeff Koons spoke about an unrealized pet project of his– a giant, actual crane holding up a replica of a “choo choo train”– and casually estimated that it would cost somewhere around $25 million to $50 million to produce, I couldn’t help LOL’ing.
“I never think about failure,” Koons told the crowd at FLAG, where several of his sculptural pieces are on view through May 14 as part of Cecily Brown, Jeff Koons, Charles Ray. “I let things resonate and when I’m ready to make a gesture, I just do it.”
If you enter the cordoned-off projection room at LA-based artist Alison O’Daniel‘s newly-opened exhibition, Room Toneat just the right moment (anytime between now and May 8, when the show is on view at Knockdown Center), you’ll bump right into the summer of 1980, when a packed house at one of San Francisco’s weirdest “social experiments” known as the Deaf Club, had gathered for the venue’s very last punk show. The legendary punk club, which had originally functioned as a social club for the deaf since it was founded in the 1930s, came about when the building’s owners decided to rent out some extra space. The deaf social remained while the place became a raucous DIY show space by night, drawing artists, musicians, and underground types like John Waters.
In O’Daniel’s film, we see some of the deaf people playing card games, unperturbed as the floors rattle and shake around them, and others wandering through the punk show as if in a dream, continuing to engage in their intimate sign conversations, while the wild noise around them proves to have little power in disrupting their connection. On the flip side, the punk show goes on, too– the presence of the Deaf Club members has no effect on the punk catharsis. I imagined a giant venn diagram– the small sliver in the center being the smidgen of experience that the deaf and hearing people shared in this scene, and the almost whole worlds that remained intact outside where the circles met. As a hearing impaired person, O’Daniel can jump back-and-forth between these two separate circles of experience, just one perspective that makes Room Tone so profoundly brain shifting.
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.