hansel and gretel picture garden pocket utopia
opening at hansel and gretel picture garden photo: courtesy hansel and gretel picture garden .
matthew miller, self - portrait at hansel and gretel picture garden pocket utopia .
credit: matthew l. miller / hansel and gretel picture garden / pocket utopia
hansel and gretel picture garden pocket utopia is located at 511 w. 22nd street, nyc. hours are tuesday – saturday from 10: 00 am – 6pm and by appointment .
3 “matthew miller: can’t you see it, i am one” opened at hansel and gretel picture garden pocket utopia, new york, on october 16 and remains on view through november 22, 2014 .
on “chris martin” at anton kern gallery; “doppler shift” at the visual arts center of new jersey; and “matthew miller: can’t you see it, i am one” at hansel and gretel picture garden pocket utopia .
sarah christian: cofounder of hansel and gretel picture garden, now merged with pocket utopia, located on west 22nd street. the gallery’s artist roster includes tatiana berg, drew beattie, rachel libeskind, and matthew miller .
utopian, austin thomas’s show of delicate constructions and drawings at the hansel and gretel picture garden in chelsea is the first part of a three - month collaboration between the hansel and gretel gallery and thomas’s unique venue in the lower east side, pocket utopia. the collaboration will include exhibitions as well as events .
ms. apfelbaum, whose project carries the tantalizing title “rome and the flatbed picture plane, ” now has a great two - part show on view at d’amelio gallery and the hansel and gretel picture garden .
hansel and gretel picture garden pocket utopia is honored to partner with steven harvey fine art projects, gary snyder fine art and katie peyton of undercurrent projects. come for the art, have a drink, stay for dinner, join the conversation .
ms. libeskind’s hayride, a collaborative project with hansel and gretel picture garden and the street corner society, is a little more highbrow. it’s called nightscapes and is based on the eli wiesel book night. read more about it here .
hansel and gretel picture garden pocket utopia presents matthew miller ’s solo exhibition of new work. portraiture and self - portrayal are the subject matter of miller’s paintings. miller’s figures have an intricate gaze. they fix their eyes on the viewer but they also reveal the artist’s method: looking into the mirror at himself in the act of seeing himself see .
i opened pocket utopia in 2007 in a storefront space bushwick, brooklyn to exhibit and curate other artists' work, to operate a residency program and to organize salons on ideas from blogging to beer making. pocket utopia was created to be a social space for initiating community by connecting artists .
my post pocket utopia space will activate a portion of the gateway project’s storefront level (as mentioned above just down the hall) and will be an art piece geared to engage the community .
for six months, post pocket utopia, a pop - up space, in newark, new jersey brewed a speciality beer called
bad ass art bitch beer ,
curated exhibitions and coordinated events .
in 2013, art critic roberta smith wrote in a new york times review of a historical print exhibition curated by artist richard tuttle, that pocket utopia was
one of the more singular bright spots in the lower east side firmament .
in 2012, i reopened pocket utopia on the lower east side of manhattan showing artists i had exhibited in brooklyn and collaborating with the old masters print and drawing gallery c. g. boerner. the exhibition program featured historical and contemporary artists in an attempt to deepen the conversation, historically and to collaborate with an ever expanding group of artists .
for a short period of time, i ran a pop - up space called “post pocket utopia” in newark, new jersey at the gateway project spaces. i brewed beer and organized a crowd - sourced photography project called # seeingnewark that anyone using that hashtag could participate in by posting an image of the city of newark online .
jason vartikar: there is another thing about art fairs: i think collaboration is great. and that’s what we’ve been doing. and we have really built a following. we just merged with pocket utopia, which is a tiny lower east side gallery. then we can merge with another gallery. and another gallery. not for financial reasons. it’s not global, in it for the money. we consult artists, we bring our clients together—
above guy and elaine, waking up and chatting and listening, it’s 7: 59 am .
the blog atfreespace (http: / / atfreespace. blogspot. com) chronicled my art making without a studio. for three years, i kept this online log of where and when i made work, which was mostly in libraries, laundry mats and public places. pocket utopia, my exhibition, salon space grew out of this writing and making project, bu focusing on functioning as an artist out in the world as oppose to making artworks in a private studio space .
douglas walla: what i like about the internet is its function as an archive. when i put a book online, i did it free so that the gallery would discuss the google search. and it became an intelligent way to discuss an artist’s career in depth. the other side of the web is all the marketing devices. there’s many sites like artsy that want to take your inventory and put it online. in an older period, that would be called “burning your inventory. ” i had a work in my gallery. and a man said i’ve already been offered this picture by andrea rosen. and i said “ andrea rosen doesn’t have this picture. ” she just had somebody come and take a picture of it and put it online and try to sell it. but the point is that for me personally that’s never going to work. the idea of selling on the net is not working .
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stefan stux: what are the crucial venues? you have to come here and here and here and here! and go through (gestures as if plotting a route) —a survivor .
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with both the iconic and the new, these eight local boston and cambridge - area establishments have come to define the harvard experience for students both old and new .
geoffrey cruickshank - hagenbuckle is an american poet and art critic. he lives in paris and new york city .
“writers writing dying” is a solid addition to mr. williams’s house of verse, and in it he pays his respects to literary ancestors. their names are planted throughout like grave markers: frost, hopkins and colette; blake, dickens and larkin; keats, yeats and rilke; basho, bishop and neruda — and many more .
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magda sawon: this will never change. and that takes over what used to be called art critical writing and thinking about the work. and the larger content of their world at the moment. it’s not happening. everything is reduced to a name and a number .
but one thing came up very strongly from my talk with kristen dodge and ed winkleman. mid - level galleries spend a lot of time and energy and money nurturing artists. then a mega - gallery swoops in and they are gone. so how do you find artists? and how do you protect yourselves from losing them to the mega - galleries ?
the intangible mystery of this work transports this viewer to an archaic place in consciousness when nature and mankind were inseparably fused in peaceful coexistence and respect .
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sarah christian: and we were talking about artists leaving galleries. and not being loyal. and in it for the money. but i think there are artists, just like the dealers here, who are really committed to their galleries .
on - site live in las galerías from january 7 to february 14, 2015 “my work incorporates vernacular and constructed approaches to making art. in particular, i am drawn to the idiosyncrasies of memory and how personal histories intersect with politics and are contextualized by the time periods in which they are made. i research, create and perform archives slipping between record, the remembered and the reconstructed. ”
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nyc blogazine for painting, painting, and more painting. published continuously since 2007 .
“one unexpected turn leading surprisingly to the next and culminating in a small triumph. ”
outside of receptions and other announced gatherings, visits to centotto are by appointment only .
yet more laughter. and tamas banovich reopens the polylogue, diffidently, but firmly .
jason vartikar and sarah christian at 511 w. 22nd street, tues. afternoon .
the american academy in rome just announced the winners of its 116th annual rome prize competition, and among them are a number of artists, including polly apfelbaum, carl d’alvia, glendalys medina and nari ward. the winners, as well as their compatriots in fields like architecture, ancient studies and historic preservation, will receive room and board for six month to two years in rome, along with a studio or study and a stipend .
poems on mortality by c. k. williams and cynthia cruz - the new york times
drew beattie, i am the grasshopper who hops into your lap and sings, 2014 .
and more about the gateway project since it is a really amazing endeavor…the purpose of the gateway project exhibition space is to host socially engaging exhibitions and community programs to cultivate critical social dialogues. it achieves this mission through bold exhibitions, community programming, and support of artists that create work for social change. the exhibition space is co - directed by jasmine wahi and rebecca jampol, two curators dedicated to activism, justice, and strong multi - disciplinary art .
in chicago, 2011, my sister mark aguhar (1987  2012) and i came to know each other through a utopian network of queers that would congregate at art and music shows, queer / activist community gatherings, and dance parties such as the legendary chances dances .
, in which the artists subject the audience to discourse between the american fall horror tradition and the holocaust. it also involves pagan rites, satanic rituals, the rural landscape and bones .
in 2015, starting in nashville but focusing primarily on building community in new york, i met with artists to discuss and share ideas on creative capital and strengthening community through the arts .
with our kids back at school we drank our coffees and teas and i put pen to paper again. jen, finger up, sips her coffee, steamed with milk from rocco’s .
joe amrhein: good question and i can ask around. so do you need a gallery ?
opening for artists dana melamed and josef fischnaller at stux gallery. photo: courtesy stux gallery .
joe amrhein: and it’s about credibility. you have to show work that can be difficult .
kyle chayka is a writer in brooklyn for publications including matter, newsweek, and the awl .
tamas banovich: even artists look at the space differently. and you guys (to benjamin gennocchio and anthony haden - guest) write about the market. you give the names and the numbers, nothing else. it is insane. but at the same time i think that what goes up must come down. suddenly they have pushed out too many people. and those people will take over .
stefan stux: you’re a dealer. you’re an exception. but in the art world in general, they have no memory. and i bet that 99 percent of people involved in buying and selling art, they have no idea. prince and jeff koons? they know, yes. but art dealers? they have no idea! and i can say that with a smile on my face .
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jason r. vartikar - mccullough ’11 is not just a triple threat. as an actor, director, playwright, painter, and costume and set designer, he’s a far more multifarious artistic entity .
kyle chayka is a writer in brooklyn for publications including matter, newsweek, and the ...
i' m a little more fluid. i think a lot of people look at my work and think,' s & m and bugs bunny - - are you being ironic?' and i' m like,' sure, if you want me to be.'
she smiles and shrugs .
the meaning is in the eye of the beholder, not in my brain .
open sundays from 1 to 6 pm and by appointment. for information, please email: famousaccountants @ urltoken
famous accountants 1673 gates avenue, bushwick, between st. nicholas and cypress open sundays, 1 - 6pm
reviews of lectures, panels, interviews, conferences, and other live speaking engagements in the visual arts .
for sasha, individual cells form a larger structure and in its form is a reflection on the conifer .
sarah christian: there’s a lot of smoke and mirrors about what we all do. you know, the glamour of being an art dealer. the glamour of knowing the art that’s part of our history. and it’s really hard for people to see when you’ve got this beautiful pristine space and incredible art on the walls …
here’s the list of the exhibiting artists: jaishri abichandani, renée cox, ayana evans, fluct, angela fraleigh, chitra ganesh, rachel mason, marilyn minter, sophia narrett, wanda raimundi - ortiz, michele pred, ventiko and shoshanna weinberger. (all amazing and curated by the amazing rebecca jampol and jasmine wahi. )
mr. williams is an old pro of the conversational barroom line, the rangy line — sometimes raw boned and sinewy, sometimes windy and flabby — that walt whitman and robinson jeffers used in trying to lasso and hogtie the whole of american experience. it still serves him well, as in the long poem “newark noir, ” in which he tries to distill his hometown to its essence, using the color black as an artistic filter :
two coats of paint - nyc blogazine for painting, painting, and more painting. published continuously since 2007 .
magda sawon: we work cheap, basically. we don’t spend a lot of money. and that allows for—
jason vartikar: also, i think it’s really important to remember that we are talking about real estate and location and stuff, but art history really belongs to a community of artists and thinkers, and it doesn’t really matter who advertises. like richard bellamy. he lost artists. he was a total failure by the standards of these days. but he was great. pierogi is part of our history whether you’re in brooklyn or 57th street .
what makes this show different than the last one (your first) ?
the work in this show has a much wider range of medium and size. i would like to think the work shows some major developments in my creative style and techniques. this show is also much more cohesive. the themes are less diluted and more pronounced .
anthony haden - guest: i remember quite vividly that after the crash in 1990, some people felt that they were just dealing with sticks and stones and pieces of canvas, flapping in the wind. they lost faith in art .
tamas banovich: when we started our galleries, our focus was on art and the artists... . and even the business part was acceptable. it was not a problem. now you spend your time thinking about the rent .
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her fierce care for these characters and the attention she lavishes on them redeems them. and she declines to leave the reader and her lonely children with mere despair. the last lines of the book’s final poem, “gone, galore, ” leaven the suffering in “the glimmering room” with a tender touch, like a parent brushing the hair from a child’s eyes :
after the prosy music of mr. williams’s lines, ms. cruz’s poems are an ecstatic overdose of language and emotion .
yet the center also demonstrates a particular respect for its constituency by mounting an exhibition program, curated by mary birmingham, that is rigorous, vigorous, and uncompromised by any false sense of cultural relevance and equivalency. now on view (and a perfect example of this program) is “doppler shift, ” a smart group show of what might be considered contemporary optical art .
the poets c. k. williams and cynthia cruz, at first glance, couldn’t seem more different. mr. williams owns a pulitzer and has published more than 20 books; her latest book is just ms. cruz’s second. he casts long, serpentine lines upon the page; she savors the cryptic burst. and mr. williams was born into the same 1930s newark that shaped philip roth, while ms. cruz came of age in santa cruz, calif. , skateboarding and listening to punk .
zambrero opens in harvard square and warwick, rhode island, donating a meal to someone in need for every burrito or bowl sold .
every year, sarah boyd hosts a series of influencer marketing conferences for aspiring instagram stars and digital marketers. in her seven years of
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benjamin genocchio: basically there’s been a shake - out in the landscape. but that’s a separate roundtable—the shrinking media and the transformation .
benjamin genocchio: nokia’s entire business has gone. these businesses came and went. these were billion - dollar businesses. they came and went. inside a decade. the transformations, it just seems extraordinary. so you are quite right about the speed of it .
1 “chris martin” opened at anton kern gallery, new york, on october 9 and remains on view through november 15, 2014 .
i’m embarking on another art experiment. i’ve been hard at work (brewing and moving) and on september 9th i’ll officially start off with an open and ongoing call of photos of newark, new jersey (# seeingnewark). on that night we will toast with a home brew i made especially for the occasion, which we are calling bad ass art bitch beer (baabb). cheers! !
andres serrano gained international fame—or some would say notoriety—in 1989 when his photograph piss christ became embroiled in the battle to defund the nea. over the years piss christ has continued to ignite controversy and is periodically attacked and defaced when it is publically exhibited. meanwhile, serrano has continued to create beautfully crafted, provocative photographs that touch on such themes as faith, sex, death, homelessness, race and bigotry .
these are melancholy spells of damage and sad madness chanted by children high on glue, crystal meth and “dream pills” who can’t keep up with this too - fast world, boys and girls who have become prey: “my friend billy dressed as a boy, ” ms. cruz writes in “california. ” “she cut her long blonde hair off / so that her father would stop / always touching her. ”
it’s this concentration on visual art that sets him apart from others in the theater community. for vartikar - mccullough, a play goes beyond just text and characters. “there’s more to theater than just scenarios, ” he says. a visual and environmental studies concentrator, he is keenly aware of how set design, costumes, and movement not only accompany the text but also act as entertainment in their own right .
the undergraduate awards programme 2018, the world’s leading undergraduate academic awards programme, recognises outstanding undergraduate work and shares it with a global audience .
contributed by sharon butler / here is a selected list of painting shows i’m heading out to see this week. for a more comprehensive, all - media listing, check out the list on artcritical and artforum’s artguide. excellent phone apps like see saw gallery guide and nyartbeat allow you to bookmark exhibitions and then display the gallery locations on a neighborhood map. i’ll be adding more to this list before the end …
shanna maurizi lives and works in brooklyn, new york. she earned an mfa from california college of the arts, and ba in photography from san francisco state. her photographic work has been exhibited at observatory, white box, gallery 825 in los angeles, santa monica museum of art, the lab in san francisco, and rotterdam kunsthal, among others. she had her first solo show at gallery 825 .
joe amrhein: and then the artist calls us. or doesn’t call us. that’s a whole other ballgame. there’s all this access .
karina aguilera skvirsky is a multi - disciplinary artist who works in photography, video and performance. in 2015 she was awarded a fulbright fellowship to produce “the perilous journey of maría rosa palacios”, a performance - based film and
the railroad workers
, a series of sculptural photographic collages, that draw parallels between an afro - ecuadorian girl’s journey through the mountains of ecuador and the indigenous and jamaican workers who constructed the most dangerous stretch of railway in the world. the project premiered at the 2016 cuenca biennial (ecuador) curated by dan cameron .
since then she has organized shows for the gallery by dan flavin, donald judd, fred sandback and al taylor, whose estates she manages .
sarah christian: there’s someone on 23rd street, ann moore, who is the former ceo of time inc. she loves art. but she’s bringing in these finance people and saying pay me $ 50 and i will bring in the best art adviser i can. or art historian .
douglas walla: i went to see stefan stux last week. stefan said, ”i have to do some business. ” and he pumped it through the instagram. and it worked! i was with gordon veneklasen who works with michael werner. he was telling me about instagram some weeks ago. he said he was the advance man in basel. and he sold 22 paintings for $ 11, 000 apiece in 90 minutes .
2 “doppler shift” opened at the visual arts center of new jersey on september 28, 2014 and remains on view through january 18, 2015 .
operating out of a renovated loading dock on 22nd street in the chelsea art neighborhood of new york city, together with sarah christian and jason vartikar, we organized exhibitions, attended art fairs, hosted seminars on the expanding themes of audience participation in museums and served up many meals to visitors .
famous accountants 1673 gates avenue, bushwick, between st. nicholas and cypress l or m train to myrtle / wyckoff open sundays, 1 - 6pm
ideas are
super fascinating
or
very cool .
she responds to the world like an eager student: with a highly curious and intellectual approach, and even humor, especially on her favorite topic, with which she is veritably obsessed: religion, perhaps the thorniest topic of them all .
we found an open - source design for a stool by samuel javelle, called a pod. sasha petrenko translated all the measurements, figured out a work plan and set an agenda for making them with her students and allowing for me to chime in. she really is the genius in this project !
at kern, martin’s latest paintings are particularly indebted to the bold figure - ground dynamics of the soho school. certain motifs seem to come right out of recent work by thornton willis and other masters of the hard edge and the dissolving form. but then martin funks them up. in a new monograph published to accompany the current exhibition, martin describes his affection for bill jensen, who would leave his paintings outside to “season” them in the snow and rain .
these short, bitter lines pulse with the pain and fracture from the other other america, the darkest side of the underbelly. in these poems, with titles like “chronic, ” “the great destroyer” and “death star, ” ms. cruz does more than just brood on death, mental illness and the minefields of girlhood — she gets this close to the thing itself, to “the pilot / blue light of the mind” going out, as in lines like these :
he started his theater career at the age of six with an appearance on “mister rogers’ neighborhood, ” and he was extensively involved in community and professional theater throughout high school. despite his numerous theatrical accomplishments, vartikar - mccullough says, “theater was never my focus; it was always very much visual art. ”
but amid the nods to dead teachers (and vivid memories of primal sexual fires that still smolder) he mucks around in the swamp of his own mortality. in “poem for myself for my birthday” he writes, “this time my birthday’s a tractor - trailer skidding sideways on ice and i’m noodling by on my bike. ” and in “salt” he notes, “i’m here on the long low - tide beach of age with briny time / licking insidious eddies over my toes. ”
from “strange gospels”: “childhood, that delicious coma. / and us girls, with our pink plush / unicorns, smashed on paxil at the edge. ”
skvirsky is an associate professor of art at lafayette college, easton, pa and an mfa faculty member at the new school, parsons school of design, nyc .
stefan stux: founder - director of stux gallery on west 57th street. the gallery’s artist roster includes dana melamed, dennis oppenheim, gia edzgveradz, and margaret evangeline .
douglas walla: founder of kent gallery on 11th avenue. the gallery’s artist roster includes dennis adams, mike cockrill, llyn foulkes, paul laffoley, and dorothea tanning .
anthony haden - guest: we were also talking about the importance of some kind of art critical dialogue. and about some of the negatives of coverage. but maybe we could look at what we could do online. people like artnet. what should we be doing? it’s a huge community. and we are in a symbiotic relationship ?
the idea of informing people in depth on the net—that has been tremendous. because we all like to be informed. so i would tell somebody “if you like something, if you like it a lot, try to find a dealer who knows the work in depth and try to get informed about the work you like. ” but there is a kind of impulse buying which is supported by art fairs, where people just go and they want to buy something. and they buy it on the spot .
contributed by jonathan stevenson / leave no trace, debra granik’s first dramatic movie since her winter’s bone ushered in jennifer lawrence eight years ago, is among the best and most resonant films to appear this year. the movie, beautifully filmed mainly in oregon, involves a disaffected and widowed marine veteran aptly named will, played by a brilliantly constrained ben …
we won' t call this list definitive, because rooftops are, after all, all about spontaneity. and, with three summer months to get your toes wet (literally
this powerful poetry is a heart offering by way of ms. cruz’s ancestor - sisters emily dickinson and sylvia plath. in “kingdom of dirt” she seduces the reader like this :
tamas banovich: cofounder of postmasters gallery, located on franklin street. the gallery’s artist roster includes holly zausner, david diao, steve mumford, william powhida, and wolfgang staehle .
magda sawon: we do one art fair. we don’t make advertisements, that is correct. i don’t believe in advertisements in magazines. i believe in social media and editorial .
jason vartikar: i think in mid - level galleries there’s a lot more caution. and artists often get a cut after certain costs come out. like a catalogue, advertising …
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the good folks at paper have a profile of the artist rachel libeskind, daughter of daniel libeskind, the architect behind the new ground zero site downtown. among other things, ms. libeskind is currently at work on a haunted hayride at the watermill center on long island. remember those? we’ve pretty much deeply repressed them from our memory, aside from the hazy recollection of sitting on a tractor wagon at our ninth birthday party and being itchy and watching a man in a leatherface mask holding a chainsaw and slowly gaining on us in a cornfield .
contributed by sharon butler / recently i was pleased to learn that winston wächter fine art in chelsea and seattle will be representing catherine howe, a talented painter i met during ...
dim sum, small - plate fare served on wheeled carts, is great for groups. the options are endless and big on flavor: we' re talking pan - fried dumplings with
in 2012 joanne mattera turned the 12 x 12 inch square that she had been working with for several years forty - five degrees and began exploring the possibilities of working on ...
sean scully: if you’re plotting art, and trying to make something to get something, you’re not in a state of creative innocence. you’re not making art. you’re doing something else .
these artists most often used self - portraiture to reflect on themselves and their own work, just as we use our selfies to communicate certain ideas about our identities and our lives. but miller is after something different. his paintings are about deconstructing how the self - portrait works. “i enjoy thinking about what a selfie is, ” he said. “breaking it all down. ”
for two weeks in rouses point, new york, artists from all over the world gathered to teach a free art camp to kids traveling as far as burlington, vermont. by day, children were taught by working artists and by night those artists joined the local community to hear music, listen to lectures, dine together and watch performances. one performance was even staged in lake champlain .
matthew l. miller’s “can’t you see it, i am one” gallery show is a challenge to—and rejection of—one of the central tenets of self - portraiture: that the artist himself is the subject .
“any time i can get someone to stand in front of my paintings and maybe put themselves in my place, or get them to become more conscious of how it’s made, i’m doing something right .
the space will open with a show of works from two of zwirner’s prized minimalist estates, those of dan flavin and donald judd. kristine bell, a zwirner partner who will head up 20th street with mr. d’amelio, ran zwirner & wirth, a secondary - market - only partnership between mr. zwirner and dealer iwan wirth that operated out of what is now hauser & wirth’s gallery on 69th street .
today the sharpe - walentas studio program announced the seventeen talented (and lucky) artists who have been selected to to receive rent - free studio space in dumbo during 2018 - 19. they received a record number of applicants–1600–which were reviewed by s - w studio program alumni heeseop yoon ‘06, gilbert hsiao ‘12, ben la rocco ‘05, and rachel beach ’13. after the initial selection, jury members …
contributed by jonathan stevenson / leave no trace, debra granik’s first dramatic movie since her winter’s bone ushered in jennifer lawrence eight years ago, is among the best and most resonant films to appear ...
“the glimmering room” is an exquisite fever dream of drugs, anorexia and unwanted sex (in both senses of the word) populated by young women and men — the walking dead — who have lost all sense of where the edge is. “i have always been drawn to this, ” ms. cruz said in an online interview with the rumpus, “have always wanted to turn the terrible into the beautiful. ”
pop culture is very prominent in your work — what do you think emblematizes pop culture today ?
the internet, the digital, the constant personal archive we all have on our laptops or cell phones. we interact with the world, and thus with pop culture, through images — pop culture today is characterized by photo memes and clever gifs. the aesthetic of the digital is a major aspect as well .
today marks the beginning of the two coats of paint fiction column, a special summer section featuring short stories about artists, collectors, galleries, and other matters centered in the art world. laurie ...
status update ,
curated by debbie hesse and donna ruff, at haskins laboratories in new haven, april 29 through august 1, explores social networking technologies. my contribution to the show involves ...
national association of latino arts & culture (nalac), san antonio, tx (2018), the jerome foundation (2015), the new jersey state council in the arts in photography (2015), the new york state council on the arts, film and electronic arts, ny (2010), urban artist initiative, nyc (2006), puffin foundation, teaneck, nj (2006) and others .
what started as a candid e - mail correspondence that evolved into a visit via skype to sasha petrenko’s fabrication lab class of art and architect students at the university of san francisco ended up on the rooftop sculpture terrace of the thacher gallery. below, our process and sasha ‘s pinophyta that clearly borrows its form from the pinecone. one can either sit or wear, be or dance at this exhibit up through december 2015 .
ramen is one of my all - time favorite foods. and no, i don' t mean the dried noodle - in - a - cup variety that i subsisted on in college. (although, i still
joe amrhein: founder - director of pierogi gallery, located on north 9th street in brooklyn. the gallery’s artist roster includes nadja bournonville, tony fitzpatrick, kim jones, daniel zeller, and the late mark lombardi .
surprisingly, miller does not use a mirror while in the studio. “i just know how to paint this guy’s face, ” he said, and tries not to stylize him. but because the facial expression is neutral, the artist said, it is “less legible” and “more complicated. ” indeed, it’s difficult to read the subject’s face, other than by eliminating expressions of affect—such as happiness, anger, or disgust—that are perceptibly implausible .
december 5, 2012 / a couple years ago in the la times, art critic david pagel wrote that carroll dunham' s paintings of women were
vulgar beyond belief... offensive, demeaning and disgusting ...
jason vartikar: the art dealers. it’s a first person narrative about different art dealers and how they made it. i just think demystifying it. making it less pop - y, less produced, less of a pageant .
benjamin genocchio: daniel kunitz, a colleague, a great writer and buddy says for an art critic, it’s like being a priest in a strip joint. he’s very interested but he can’t participate. it’s about transactions. (to joe amrhein). but if that’s what the art world is, then that goes in the other direction to what you are talking about, which is serious and intelligent coverage. do you get input on the web ?
tamas banovich: i think it is a mystification, the artists’ community, but this is also an issue. artists are more competitive now. they are not open. much more guarded. and that kind of restricts community .
per - son - age is an exhibition of videos in which the artist is the primary performer. historically artists such as bruce nauman, adrian piper, hannah wilke and nayland blake to name a few, have performed in “person” in their videos. this exhibition presents video where the artist is central to the work, serving as translator or interpreter of the world in which we live. the artist’s actions reveal process, depict rituals, express something profound or abstract and expose systems at work .
creation myths provide blueprints for their respective societies, on both a conscious and unconscious level. lenore malen, whose past work on utopian societies traverses history, in this exhibition takes us back to biblical eden to ascertain where things went off the rails .
contributed by sharon butler / here is a selected list of painting shows i’m heading out to see this week. for a more comprehensive, all - media listing, check out the list on artcritical and artforum’s artguide. excellent phone apps ...
vartikar - mccullough envisions a new sort of theater and hopes that the audience walks away with a new concept of what theater can be. “i took a look at all these schools of acting, ” he says of the development for his direction, “ [ and i ] came up with this totally new way to put the actors in this situation. ” incorporating his experience in both theater and art, he has created a new dynamic in performance. “instead of presenting the text to the audience, vis - à - vis the movement, we’re hiding the text, we’re sheathing the text, we’re putting a veil over it, ” vartikar - mccullough says. “the whole thing could exist without the text, the text blooms out from underneath it. ”
on the occasion of joe zucker’s exhibition, new new neoclassicism, at the drawing room, jane goleas sat down with the artist to discuss the trajectory of his painting practice, his literary painting style, and how acts of faith pertain to the painting .
but then, none of libeskind' s work is. it is bold, daring, often explicit, challenging and controversial. she has a whole body of work exploring the topic of christ' s foreskin. in college, she produced an unconventional version of
this is the second part of a two - part transcript of a conversation at an artnet roundtable discussion held in may 2014 in artnet’s offices in the woolworth building. the moderator was anthony haden - guest, artnet news columnist and cartoonist, and author of the book true colors: the real life of the art world (atlantic monthly press, 1988). as haden - guest put it to the group at the beginning of the discussion (see new york dealers discuss the future of galleries, part one) :
her razor - wire stanzas in “the glimmering room, ” even better than her fine debut, “ruin” (alice james books, 2006), are full of too - young desolation angels, “the other almost - girls” and “the boys who want to die. ”
our past successes are owed to our greatest ambassadors: our readers. our future rests on your support, as the new criterion editor roger kimball explains. will you help us continue to bring our incisive review of the arts and culture to the next generation of readers ?
that elicited boos from the audience for its irreverence. and then there' s the holocaust hayride... she certainly doesn' t shy from conflict, but at the same time, her attitude is not at all contentious. libeskind has a lot of loves. she
famous accountants is a bushwick gallery which has been written about in art in america, new york times, the brooklyn rail, artnet, l magazine, bushwickbk, cura magazine, hrag vartanian, bloggy, brooklyn based, l magazine, the brooklyn rail and l magazine .
today, as a rising tide of isolationist nationalism challenges globalism’s utopian promise, lifelines, a concise retrospective of greatest hits at the centre pompidou in paris, and free threads, a quixotic excavation of more obscure works, at mexico’s museo amparo, surveyed sheila hicks’s cross - cultural ambitions .
listen, my friends, we are punished by the heavens, exiled by time. it is true, we were cast from heaven to earth the day that the stars plucked us from jahanabad and threw us down in the wilds of baran where the lights burned from a distance of twelve miles .
so i use the web as an information platform and an archive platform. a way of getting information is the google search. what has helped the gallery substantially is making the information available—not by somebody talking to me. they [ people ] can see it at midnight or 6 in the morning .
miller furthers his method by including the tools of his creation in the paintings. in one portrait, the artist poses with his brush. in another portrait, he poses with a chisel and an uncompleted wooden sculpture. (the image recalls el greco’s portrait of a sculptor, 1576 - 1578. )
the artist’s torso is understated, softening the figure’s masculinity. miller does not sexualize or heroicize the figure’s physique; instead, the figure appears to be emotionally and psychologically vulnerable. miller’s paintings thus intensify the reflexivity of conventional self - portraiture. miller paints the archetypal artist caught in the vulnerable performance of painting .
opened in october 2009, famous accountants is a bushwick gallery that has been written about in the art in america, new york times, artnet, brooklyn rail, l magazine, cura magazine, village voice, new york press, time out new york, bushwickbk, hyperallergic, bloggy, and brooklyn based .
contributed by sharon butler / recently i was pleased to learn that winston wächter fine art in chelsea and seattle will be representing catherine howe, a talented painter i met during final crits at the new york academy of art in may. at the time, she was in the process of packing up her studio at the …
by the holidays, his mind was made up. hurricane sandy made mr. d’amelio consider the bureaucratic headaches that come with running a smaller gallery, even though his own escaped the storm for the most part unscathed. now he’ll have a team backing him up, so that he can focus on artists, curators and collectors .
opened in october 2009, famous accountants is a bushwick gallery that has been written about in the art in america, new york times, brooklyn rail, l magazine, village voice, new york press, time out new york, bushwickbk, hyperallergic, bloggy, and brooklyn based. shanna maurizi: unidentified is famous accountant’s thirteenth exhibition .
math isn’t much in evidence at d’amelio, at least, where ms. apfelbaum’s hand - dyed velvet floor piece “flatterland funkytown” surrounds two columns in the center of the gallery with a mossy panoply of abstract shapes. long, caterpillarlike rows of dots fan out toward the walls, crisscrossing over big puddles and smaller splatters in a rich array of jewel tones .
“‘suddenly, last summer’ was tennessee williams’s favorite play, ” vartikar - mccullough says, explaining his choice. “it came in a period of his life, after a year of being institutionalized. he wrote this in a fortnight, a completely cathartic outpouring. it’s his favorite work, and yet every time it is put on it gets bad reviews. ”
how has new york shaped your art ?
the energy of nyc plays a major role in my work. i find being in new york endlessly exciting and inspiring. it is the only city in the world that can feed you this kind of creative energy. there' s a reason it' s the art world' s home base .
contributed by katie fuller / on a recent trip to santa fe, new mexico, i was eager to check out the growing art scene in the railyard arts district. being accustomed to new york, where space tends to be tight, i felt the invigorating abundance of venues like form & concept, lewallen galleries, and site santa fe, where the …
i like to think that my process is just experimentation ,
she says .
that' s my favorite thing about art, is experimenting. it' s like an adventure every day when you' ve decided to do something new, and like 99 percent of the time you fail but one percent of the time you make something really great .
contributed by rob kaiser - schatzlein / earlier this year, painter patrick brennan had a show at the artist - run gallery essex flowers. the title, “drifter, ” referred to the previous year of his life, when he gave up his studio in greenpoint to spend time in england, ohio, and bahrain. he also made frequent trips to upstate new …
today marks the beginning of the two coats of paint fiction column, a special summer section featuring short stories about artists, collectors, galleries, and other matters centered in the art world. laurie fendrich has contributed the first story, which is about a drawing that goes missing. note: if you would like to submit a short story, please send it to …
the 30, 000 - square - foot, five - story zwirner building on 20th street represents the latest expansion for the gallery, which went international last year with a townhouse in london’s mayfair. mr. d’amelio’s new home will stage shows with a more historical bent, though zwirner boasts a number of impressive primary - market artists, luc tuymans and lisa yuskavage among them .
benjamin genocchio: the truth is that there is a whole slice of mid - level freelance writers and critics who can no longer make a living. those budgets are gone. that range of people who were sort of getting by curating shows, doing catalogues, doing reviews, it’s gone in the last 5 to 10 years. you’ve lost a big piece of that writing ecology.
hansel and gretel picture garden pocket utopia was a contemporary art enterprise in new york city . the hansel and gretel picture garden merged with pocket utopia to become one gallery , hansel and gretel picture garden pocket utopia . 
hansel and gretel picture garden pocket utopia was a contemporary art enterprise in new york city. the hansel and gretel picture garden merged with pocket utopia to become one gallery, hansel and gretel picture garden pocket utopia.
hansel and gretel picture garden pocket utopia was a contemporary art enterprise in new york city. the hansel and gretel picture garden merged with pocket utopia to become one gallery, hansel and gretel picture garden pocket utopia.