Installation view of Come Together: Surviving Sandy, Industry City courtyard, Brooklyn; Mel Kendrick, Marker 4 and 5, 2009. Image courtesy of the artist and the Brooklyn Rail.
Industry City – Brooklyn
Come Together: Surviving Sandy is the largest independently organized exhibition in New York in recent memory. It was organized by Phong Bui, an artist, as well as the founder, and publisher of the Brooklyn Rail. Bui’s studio was tragically submerged during Hurricane Sandy, and he lost years of his own work. The massive exhibition includes 331 artists and over 850 works in a nearly 100,000 square foot space Continue reading
Thomas Scheibitz, A Panoramic View of Basic Events, 2011, oil, vinyl, lacquer, pigment marker, and spray paint on canvas, 74 ¾” x 114 1/8”. Courtesy of the artist and Tanya Bonakdar Gallery, New York.
Tanya Bonakdar Gallery – New York
Thomas Scheibitz appears to be a straightforward Modernist artist resembling the classic painter-sculptor-collage artist model à la Matisse or Picasso. Scheibitz’ presentation is conspicuously simple. The artist’s seventh solo at Tanya Bonakdar consists of modest-sized paintings, (markedly smaller than the oversize work for which he’s known), two freestanding sculptures, preparatory drawings/collages and framed prints. Each of the 16 preparatory drawings (Worksheets, all 2011) displayed on a sculpture-like table illustrates the process he uses to develop his enigmatic paintings. The forms and compositions recycled throughout his oeuvre purport to be nothing more than that: garden-variety, landscape-based abstraction. We are asked to take his practice at face value. However, to read this enigmatic conceptual artist as merely a painter/sculptor would be missing the point entirely.
Matthew Brannon, Pleasure / Guilty, 2011, wood, metal enamel, 5.5” x 16.5” x 1.4”. ©Matthew Brannon. Courtesy of the artist and Casey Kaplan Gallery, New York. Photo Credit: Cathy Carver.
Casey Kaplan – New York
New York-based artist Matthew Brannon continued his development of bewilderingly obtuse fictional narratives (which inform his entire practice) in his latest exhibition at Casey Kaplan, New York. The viewer was led through a noir world of psychologically complex relationships by a group of interrelated works, including handmade sculpture, letterpress prints-and only since this latest show-painting, which if read together may develop an overarching plot line, or not.
Andrew Masullo (b. 1957). 5030, 2008–10. Oil on canvas, 24 x 30 inches. Collection of the artist. © Andrew Masullo; courtesy Daniel Weinberg Gallery, Los Angeles
Whitney Museum of American Art – New York
It’s impossible to write a straight review of the 2012 Whitney Biennial when it is being actively picketed. One must consider the political/economic context that may occlude any effective discourse or artistic offering made from within the institution. This is, unfortunately, the state of most things in contemporary American life: How does one go to the ATM without thinking about the global bank default? How does one pursue a higher education without considering the looming threat of a student-loan debt crisis? How can artists today-or really, anyone-make their labors compensable without contributing to the plutocracy that is the American status quo?
Photo: Can I Get a Witness, 2011, at ART BLOG ART BLOG. Photo courtesy of Brandon Mitchell.
ART BLOG ART BLOG, organized by Joshua Abelow, consisted of 10 exhibitions from May 13 through October 29, 2011, in New York.
The democratization of power in the New York art world is a direct result of young artists and curators self-publishing on the Internet using blogs and social media. This phenomenon has never been more visible as when artist Joshua Abelow turned his blog, ART BLOG ART BLOG, into an alternative exhibition space in Chelsea. The result was comparable to any other major commercial venue in the area; Abelow mounted a rigorous schedule of ten exhibitions from May to October 2011, and so, an opening approximately every two weeks.