Peyton Freiman’s “JFK was a Realist,” 2015 (Image courtesy of Shin Gallery)
Long Gone and Missing Opening Wednesday August 1, 7 pm to 9 pm at Shin Gallery. On view through September 10.
Imagine a beach on the Lower East Side. Now imagine that beach stuffed inside an art gallery. Some might call it crazy, but this wacky dream will become reality at the opening of Peyton Freiman’s solo show, Long Gone and Missing. The Brooklyn-based artist (who also recently showed a piece in loft-gallery Club 157’s first group show) will transform Shin Gallery into a “veritable beach playground” filled with his colorful mixed media works on paper.
Walking into an art gallery opening, you aren’t normally greeted with the smell of sweat and ketchup while men in flannel stare at still-life paintings, holding a Big Mac in one hand and a Coors Light in the other. The burger was snatched from a towering shrinelike art piece and the ketchup was dripping steadily from a fountain. But this isn’t an ordinary show, and the folks behind it aren’t an ordinary gallery.
Amanda Charchian “Ana in Costa Rica,” 2012 at “In The Raw: The Female Gaze on The Nude” Exhibit, (Courtesy of Untitled Space Gallery, New York)
Opening night for In the Raw: The Female Gaze on the Nude (on view now through May 21 at The Untitled Space) was predictably packed, and not just because it’s Frieze week and the gallery was giving out free booze. I’d like to think that people were there for the actual art exhibition, which was billed as an all-female, all-nude art show where 20 women artists, aged 21 to 60-something, from Russia, Chile, and beyond, “explore a perspective less chartered, that of a woman’s eye on another,” and in the process “challenge the status quo with a liberating and authentic beauty.” Or maybe they were there because Victoria de Lesseps (daughter of Real Housewives “star” Countess LuAnn de Lesseps) is also on the roster of participating artists. Who could tell?
Indira Cesarine, who curated the multimedia art show along with Coco Dolle of Milk and Night, told me that she felt the exhibition was a “timely” one. Dolle told Whitehot magazinethat the work is “saleable.” They’re in no way wrong.
“Grattan St.” June 11, 2006 by Rafael Fuchs (Image courtesy of Fuchs Projects)
Rafael Fuchs has lived in Bushwick for the last 11 years. For the first five, Fuchs worked as an independent artist and since 2012 he’s run Fuchs Projects, a gallery for showing work by himself and other artists (international and local) inside the BogArt, a building that on weekends is packed with streams of visitors headed to galleries with names like Soho20. An Israeli photographer who’s lived in New York since 1985, Fuchs arrived in Bushwick just prior to what he calls the “art explosion,” as just another newcomer looking for cheap rent. His neighborhood stomping grounds over the years have been mostly confined to the area around the Morgan stop. Beyond that zone of familiarity is what Fuchs described to me as “deep Bushwick.”
There might be no other artist breathing today who lives their art as deeply and consistently as Genesis Breyer P-Orridge. The renowned occultist and “wrecker of civilization” has repeatedly taken a spiky club to the larger culture, even to h/er own body, as a means of dismembering ingrained mores. S/he did this first as a founding member of Throbbing Gristle– a band whose embrace of bristling, harsh sounds and antagonistic politics sought to dishevel the status quo, and sparked the inception of industrial music– and subsequently with Psychic TV. With h/er new exhibition, Try to Altar Everything(opening March 11), P-Orridge will transform the Rubin Museum into a participatory “shamanic space,” inspired by h/er travels to the Kathmandu Valley of Nepal. “We’re developing this bouncing conversation between the mundane and the sacred,” Genesis explained. “Everything can be sacred, and if you start to look for the sacred, you will find it.”
Andrea Wolf, Unsolicited Memories, Archival Exercises N.5. 2015.
We’re all familiar with the traditional “white box” art gallery— it’s bright, clean, sterile, artificial and unshadowed. Keeping this in mind, BFP Creative made a space that does the opposite–a black box, void of any light, designed to showcase the glowing works that inhabit it. Unlike most art, work by the eight artists in the show “Luminary,” opening tonight, thrive in the pure darkness.
Robyn Renee Hasty is no stranger to outsiders, countercultures, and misfits. So it might feel a little strange for the artist to be in the midst of what’s becoming a mainstream social movement and media obsession to match, as embodied in the debut of Caitlyn Jenner. A new exhibition featuring Hasty’s most recent work, opening Thursday at Brooklyn’s Pioneer Works, couldn’t be more timely. But even with a newfound frank (but still sometimes fraught) discussion of the transgender experience going mainstream, Hasty’s nude portraits of transgender, gender non-conforming, and cisgender people are still subversive. More →
“Eunoia II,” installation by Lisa Park at Reverse Gallery (Photo: Nicole Disser)
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 scowling woman shoved a plastic bag in my face and gestured toward the mound of grapefruits at a Chinatown grocery like any other. “No thanks,” I smiled, pointing toward the rust red door with chicken scratch white paint that reads: 94 1/2. “Oh,” she said knowingly and smiled. Unlike everyone else clucking around the piles of produce, I wasn’t shopping. I was looking for an art show supposedly behind this dingy door. I tentatively knocked and heard no echo, no indication there was anything but darkness behind there, let alone an exhibition dedicated to work by the street artist RAE, some recent and some that might have otherwise been lost had it not been for a helpful neighbor.
Last time we bumped in photographer Anna Bloda, she was trying on clothes. This time, she’s stripping them off. Bloda is baring all for a group exhibit that opens tonight at Rox gallery — and judging from the flyer for “POLISH,” she’s not the only one getting naked. More →