No Name, the group show currently on view at Lower East Side gallery On Stellar Rays, is a theory-based project that develops a collaborative scene of “gestures, memories and detritus.” The show presents a collection of objects that are incoherent, elusive, and laden with a mysterious personal logic. The work demonstrates a strong theoretical basis, drawing primarily from Judith/Jack Halberstam’s advocation of failure as a[…..]
Perchance to Dream, a group exhibition on view at New York’s Andrea Meislin Gallery, features twenty-five international artists’ photographs that relate to the Shakespeare quote referenced in the show’s title. We see napping children, embracing couples in bed, homeless men on the street, passed-out teenagers on the beach, and even an abandoned, sleeping dog. We also see the strange addition of soiled and torn mattress “landscapes,” presented[…..]
Thomas Lanigan-Schmidt makes kitsch from the kitchen, using everyday materials such as cellophane, glitter, foil, and Easter-display grass to construct minutely detailed and coded ephemera that sanctify camp, trash, and a kind of queer sentimentality particular to the artist’s experience of the 1970s Hell’s Kitchen scene in New York. Ecce Homo, Pavel Zoubok Gallery’s current three-part exhibition, orbits around this artist’s counter-historical queer aesthetic. On the heels of his extensive[…..]
Intersections, Claudia Joskowicz’s two-channel video installation and accompanying photographic series at LMAKprojects, is a straightforward display of her newest video piece, Every Building on Avenida Alfonso Ugarte – After Ruscha. The insular gallery space of LMAKprojects has been transformed into a kind of dark pathway. The spectator enters and is sandwiched between two opposing, life-size projections of two sides of the same street: Avenida Alfonso[…..]
California-based photographer Richard Misrach first emerged on the American art scene in the 1970s, praised for his pioneering use of color film and large-scale prints. He spent the next four decades of his career using these techniques to document the fragile relationship between man and the environment, paying special attention to decaying, off-kilter landscapes. His photographs of former nuclear test sites in Nevada and Utah,[…..]
Tracey Emin’s work presents an unfiltered and often embarrassingly personal view of emotional pain. It reflects the kind of desperate or careless narcissism that is the territory of the depressed. Emin is concerned with the primacy of her own experience—and the narrative of her own sadness is the unabashed subject of her work. Emin’s oeuvre has always felt most valuable to me in terms of[…..]
As a part of our partnership with Huff Post Arts, today we bring you a story written by Rozalia Jovanovic of BLOUIN ARTINFO about Frieze Art Fair in New York. While Frieze New York has more exhibitors this year than last — around 190 to last year’s 180 — there’s still not enough room for everyone, and competition for entry was fierce. The second edition of the fair sees[…..]
