Deborah Howard’s opening at Edge Gallery Friday, July 17, displayed works of melded media: Holocaust imagery paired with haunting photos, encaustics juxtaposed with what perhaps unites us all: shoes. Shoes, the elements that tie the entire exhibition together, are gnarled, painted, and sculpted into art at the hands of Howard; they become relics in her care.

The encaustics and shoes make up the bulk of the exhibit and work together to create a mélange of painting and sculpture that seems to take on a different medium altogether. Encaustic is a painting method where color-pigmented beeswax is melted, applied to a surface and reheated to fuse the paint into a smooth or textured finish. In Howard’s exhibit, she tends to take the textured approach, which evokes something gruesome and striking in her work, especially when the shoes interact with the canvas itself, whether melted into the canvas or placed in front of it, creating a museum-like quality.

Howard, who displayed her Portrait Project of Holocaust Survivors in 2008, calls to mind this past once again, reminding viewers of the extensive shoe collection displayed in the Holocaust Museum in Washington, D.C. She has taken her shoes and placed them on display, re-positioning them as works of art. Beautiful and eerie, they nag at us, make us uncomfortable, and beg us to ask questions: Where did they come from? And more importantly, whom did they come from? I found myself wondering if these shoes were taken or given over as pieces of art.

The encaustics react with the shoes most prominently in Celestial Slipper, where the canvases seem to take the place of the human figure. The only human quality remaining are the shoes, and that is enough for the viewer to infer a human. The fact of the matter is, though, that the shoes’ owner (whoever it was) is gone and replaced by material. Finality, beauty, and tragedy seep out from this piece and into the viewer.

Howard heads the painting program at the University of Denver. Her work has been exhibited at Aspen Art Museum, Regis University in Denver, Arvada Arts Center, Peace Museum in Chicago, Tweed Museum in Duluth Minnesota, Contemporary Art Center in New Orleans and City College in New York.


-Jessica Hughes


Artscape Magazine’s Issue #01, which celebrated its launch at Brooklyn’s 3rd Ward on June 19th 2009, chose to focus on the consequences of the current economic climate.  Editor in Chief of Artscape, Juanli Carrión, wrote that the publication hoped to highlight the effects of the economy on artistic creation and production without losing an optimistic tone. Still, he admits that the issue is a portrayal of reality and, if alarming, it’s at least not falsely upbeat.

The article “Art After (The End Of) The Banquets” by Domingo Mestre is of interest, both insightful and disturbing in its investigation of art’s position in the economic conditions. Mestre introduces his piece with threads of optimism, writing, “from the perspective of Milton Friedman and his followers, disasters and catastrophes of all kinds now are not a problem; rather, they are considered to be true opportunities.” He then asks us to consider the concept that art is a zeitgeist of its time. I have always been fond of this concept: it suggests that our creative voices are totems of our age, time capsules constructed from contemporaneous aesthetic. However, Mestre illuminates the negative consequences of this phenomenon by investigating what today’s art is implying about this epoch. His concern? Damien Hirst, the British artist behind infamous pieces like The Physical Impossibility of Death in the Mind of Someone Living (a shark in a formaldehyde-filled vitrine) and For the Love of God (a platinum, diamond-studded model of an 18th century skull, still featuring the original teeth). In addition to the unconventional nature of his work, Hirst utilizes a factory setup – much like Warhol – to produce the desired volume of pieces. This concept of mass-production, paired with the incredible selling prices of his pieces, has led some to consider him as commercial brand rather than artist. Mestre writes, “I think that there is no better way of representing death in our time, in this case the death of art itself as a product differentiated from the rest of commodities. Doubts emerge at the time of asking oneself if other ways of thinking still fit. If there is still a place for thinking about art itself and for itself, after its postindustrial fall into pure financial speculation and the world­wide crisis of that speculation. Said in another way: Does anything else exist, in the business of Art, apart from money?” I had not considered the monetary impact of work, such as Hirst’s, to this extent. While I have been admittedly disturbed by his pieces, I took for granted that he was a natural progression of the avant-garde; he is extreme to breach previous traditions and strive for the ultramodern. But what do these pieces – dissected marine life and diamond-encrusted skulls - reflect about our society? Perhaps we are fearless when stepping over creative boundaries; perhaps we have gone too far to achieve novelty and lost our regard for the sanctity of life in the wake of this endeavor. But with fiscal issues becoming increasingly prevalent, Mestre’s article considers that perhaps contemporary art reflects merely our consumerism. Not only does he entreat us to consider how art will struggle through this economy, but also compels us to wonder if it can be separated from its monetary value, or if it is now merely another commodity.

The FLAG Art Foundation’s current exhibition, Re-Accession: For Sale by Owner, curated by Philae Knight and Amanda Steck, addresses the economy by showcasing work of both established and emerging New York artists who either do not have New York gallery representation or whose representation has been affected by the economic climate. For this particular exhibit, FLAG functions as threshold for the artists, making pieces available for sale directly without receiving the traditional commission a gallery would take. Re-Accession fashions a sense of unity, bringing together artists of different mediums, styles, and degrees of renown to address their common struggle. Upon entering this exhibition, I immediately encountered Devon Dikeou’s What’s Love Got To Do With It? The piece is an arrangement of nineteen lobby directory boards. This series mimics the manual directory boards used by galleries over a decade ago and contain information (title, location, dates, artists) for group shows Dikeou had participated in over the course of her career.  The set that appear at FLAG are from exhibitions that occurred during the last economic slump in the early ‘90s.  In addition to this set, she created a new announcement board for Re-Accession, marking another group of artists in similar circumstances. Other artists in the exhibition chose to address the economic climate more explicitly: Conrad Bakker painted a panel for the exhibition that reads: “LIQUIDATION SALE / GOING OUT OF BUSINESS / EVERYTHING MUST GO.” Laura Gilbert’s The Zero Dollar was also featured.  Fake “zero” dollar bills, which Gilbert handed out in front of the New York Stock Exchange in 2008, suggest the depleting value of our currency.  Also included was a haunting photo drawn over with ink by Sebastiaan Bremer, a red white and blue banner reading “We Finance Lottery Tickets” by Matt Tackett, layered painting by Jay Davis, and photographs from Bill Durgin’s Nudes and Still Lifes series, in which an untraditional nude is paired with a photograph of a simultaneously grotesque and elegant still life. While many of these pieces function as commentary on the current economic climate, they also serve as totems that commemorate the resiliency of the artists who continue to produce art in spite of the rugged conditions.

X-Initiative’s NO SOUL FOR SALE – A Festival Of Independents, which closed on June 28, used the former Dia building to bring together innovative and esteemed “not-for-profit centers, alternative institutions, artists’ collectives and independent enterprises” from around the world. These participants were invited to use the space to showcase work of their choosing, turning the site into a vast collection of art, video, performance, and publication. The festival functioned without partitions, walls, or entry fees, only tape-marked boundaries on the floor. These factors allowed the participants to function in close proximity, without the experience of their work being a commodity. This intimacy removed all sense of hierarchy and allowed viewers to experience the exhibition as a collection of work sans price tag. I was particularly moved by the work of Tel Aviv street artist Know Hope. The nameless character featured in his cardboard world of metaphor, images, and text serves as a representation of both the universal vulnerability and strength of humanity. His combination of illustration, poetry, and iconography lend his work a multi-layered narrative quality - a delicate epic of humanity's struggle. Swiss Institute displayed a dolly bearing a hefty stack of fanzines entitled “Avant Guard,” which – through images and writing - venerates the work of artists who formerly worked as guards at the Dia Arts Center (where X-Initiative is now located). Though the zines were being sold for the price of $1, the dolly was intentionally left unguarded and the viewers, confronted by a Marlo Pascual magenta-tinted husky featured on the cover, were given carte blanche to take themselves a personal copy if so compelled. Many of the contributors displayed interactive pieces, such as Kaffe Matthews’ Sonic Bed_Marfa. The charming yellow mattress invited visitors to climb in, get comfy, and experience their own perception of sound – specifically, a Kaffe Matthew’s composition resounding through a 12-channel system hidden inside the bed. In addition to being an audio-experience, the nature of potentially reclining on a mattress next to a stranger allowed this piece to function as a social experiment and unifying activity. W.A.G.E. (Working Artists in the Greater Economy) also encouraged viewer-engagement, setting up a floor space with stencils and spray paint. zingmagazine Managing Editor Brandon Johnson, who entered the exhibition in a white t-shirt, left sporting a still-sticky customized garment reading “WAGE RAGE” in gold lettering - earning him kudos from a belabored man outside a 23rd St Irish pub who vocally identified with that statement.  Also featured was INABA’s rooftop installation, a  group of pool-noodle structures serving as seating for film viewings; Kling & Bang’s audio-visual presentation of 44 DVDs shown on three projectors, five or so small DVD players, and two flat screens; Galerie im Regierungsviertel’s installation entitled “Elevator to the Gallows,” occupied the former freight elevator and allowed 20 people at a time to experience an imaginary elevator ride surrounded by the work of the featured artists; and  performance/installation piece “Impulsive Chorus” by Martin Soto Climent, in which the public assisted the artist by downing cans of beer to be crushed and arranged into a structure. This performance-sculpture, which took place during the opening of NO SOUL FOR SALE, was an ideal embodiment of the synthesis of art and community: it transformed a common social activity into tangible art.

Regardless of your impression of his sentiments involving the pieces and process of Damien Hirst, Domingo Mestre does raise the valid question of art’s proximity (and submission) to commerce and consumption. Like an answer to his clarion call, the committed individuals of projects such as Re-Accession and NO SOUL FOR SALE have chosen to evaluate the situation and find a new angle by which resilient innovators can maintain their livelihood and make art intended to illuminate current issues and create community: a testament to the belief that art has not become merely a commodity.


-Isabelle Bonney

The Generational: Younger than Jesus at New Museum through June 14, 2009

Photos taken at the press preview April 7th, 2009.

Another 24 Hours at Museum 52



Seoungho Cho will screen a series of films dating back to 2003, climaxing

with his most recent work ‘Buoy’ (6:21 color, sound).  Seoungho Cho is

a 2008 Artist Fellowship recipient of the New York Foundation for the Arts

(NYFA). This presentation is co-sponsored by Artists & Audiences Exchange,

a NYFA public program.  Produced by Namsik Kim, Soundtrack by Stephen




Mark Beasley is an artist and curator and his brother Stephen Beasley is

an artist and architect.  Past projects include The Propmakers, MOT, London

(with Russell Oxley), Beasley Street at Camden Arts Centre; The Thinking

(with John Russell and LA film-maker Damon Packard) at PS1/MOMA, New York

and Hey Hey Glossolalia at the Stanley Picker gallery, Kingston University,

London. Mark Beasley is currently a curator at Creative Time, New York.



For A DAY TRADING Peter Simensky will host a market in two parts – the

first being a Swap Meet, the second a Neutral Capital / Art exchange. These

two markets will be staged on the top and bottom floors of Museum 52

respectively. The Swap Meet invites all parties to bring art works,

unwanted art supplies, collectables, a song, services, baked goods, etc. to

informally trade between parties. The Neutral Capital / Art exchange

invites artists to sell their projects against Simensky’s Neutral Capital

currency – and participate in an ongoing alternative collection economy.

WEEK TWO: 24th – 27th MARCH



(21 mins. Based on Andy Warhol’s film, ‘Nude Restraint’, 1967).

“I am fascinated with Viva's monologue in this film. I think I talk too

much, especially when I am nervous.  The art world makes me nervous.  I'm

not an actress and I wasn't sure what to say so Viva’s monologue seemed

perfect.  Warhol said her voice was the most mesmerizing and grating he had

ever heard.  So I cast myself as Viva, and my 9-year-old son as Taylor

Mead.  It's just Mom in the kitchen, serving up a hot dish of cool




Artist Michael Mahalchick invites everyone to help him make a movie in the

gallery over the course of the day.  Participants are encouraged to bring

props and costumes and will interact with each other.  The narrative will

unfold with each new visitor.



During his solo show at Museum 52 in 2008 Jacob, whose interest in

performance is shaped by his childhood experiences as an amateur magician,

invited friends and artists to perform with one of the four floor-based

sculptures in the show. Participants randomly selected a sculpture with

which they were to perform.  Jacob invited others to explore his materials

and objects with the same compulsive drive to continually generate meaning

through activity and play. His invitational at Museum 52 will follow

similar lines of activity.



Depression Bake Sale: baked goods that are good for the mood will be sold

throughout the day.  Screening Space: will feature an all-day and evening

program of art and non-art videos/films relating to food, comedy, and

reality. Co-programmed by Sara Greenberger Rafferty and Kyle Rafferty.





+1 212 228 3090

CLMP Benefit, Monday, November 3rd, 7pm


Monday, November 3rd, 2008
Meg Wolitzer returns as Miss Spell to defend her fabulous aluminum foil crown against a swarm of usurping spellers.

7:00pm Bubbles 'n Bites,
Buzzless Bidding Silent Auction.

8:00pm Bee.

We Put a Spell on You is hosted by the Diane von Furstenberg Studio 440 W 14th Street, NYC

Brave Spelling Bees so far! -- Jonathan Adler (TOP DESIGN) Jonathan Burnham (Publisher, HarperCollins) David Carr (THE NIGHT OF THE GUN) Michael Cunningham (SPECIMEN DAYS) David Gates (THE WONDERS OF THE INVISIBLE WORLD) Brooke Geehan (Founder, Accompanied Literary Society) Brad Gooch (FLANNERY: A LIFE OF FLANNERY O'CONNOR) Heidi Julavits (THE USES OF ENCHANTMENT) Wayne Koestenbaum (HOTEL THEORY) Alex Kuczynski (BEAUTY JUNKIES) Honor Moore (THE BISHOP'S DAUGHTER) Michael Musto (LA DOLCE MUSTO, The Village Voice) Sara Nelson (Editor-in-Chief, Publisher's Weekly) Susan Orlean (LAZY LITTLE LOAFERS) Robert Sietsema (Restaurant Critic, Village Voice) Judith Thurman (CLEOPATRA'S NOSE) Meg Wolitzer (THE POSITION)

Emcee -- Bob Morris (Style Section, The New York Times; author, ASSISTED LOVING)

Judge -- Jesse Sheidlower (Editor-at-Large, OXFORD ENGLISH DICTIONARY)

Full List of NYC Openings September 3, 2008 -- September 9, 2008


John Issacs opens at Museum 52, 95 Rivington St, btw Ludlow and Orchard, 6-8pm

Sara Singh and Arlene Guerra open at Gallery Hanahou, 611 Broadway, Ste 730, at Houston, 6-9pm

Sheila Metzner opens at Visual Arts Museum, 209 E 23rd St at 3rd Ave, 6-8pm

Nic Hess opens at The Project, 37 W 57th St, 3rd Fl, btw 5th and 6th, 6-8pm

Skull Theater, a new site project by Lisa Hein and Bob Seng, opens at the Humanities Gallery at Long Island University Brooklyn, Flatbush Ave, btw Willoughby and DeKalb, 6-8pm

Secret Science Club presents Leslie Vosshall, Smell-ologist, at Union Hall, 702 Union St at 5th Ave, 8pm, Free


Scrawl, organized by Harley Spiller, opens at apexart, 291 Church St, btw Walker and White, 6-8pm

Clare Brew and David Malek open at Werkstatte, 55 Great Jones, btw Bowery and Lafayette, 6-9pm

Emily Counts opens at Plane Space, 102 Charles St at Bleecker, 6-8pm

Guaranteed Good opens at Leo Kesting, 812 Washington St at Gansevoort, 7-10pm

Neil Tetkowski opens at HPGRP, 32-36 Little West 12th St at Washington, 6-8pm

Amanda Means opens at Ricco Maresca, 529 W 20th St, 3rd Fl, btw 10th and 11th, 6-8pm

Animus Botanica opens at Denise Bibro, 529 W 20th St, #4W, btw 10th and 11th, 6-8pm

Joseph Peller opens at ACA, 529 W 20th St, 5th Fl, btw 10th and 11th, 6-8pm

Meredyth Sparks opens at Elizabeth Dee, 545 W 20th St, btw 10th and 11th, 6-8pm

Christian Marclay opens at Paula Cooper, 521 W 21st St, btw 10th and 11th, 6-8pm

Ryan Gander and Peggy Preheim open at Tanya Bonakdar, 521 W 21st St, btw 10th and 11th, 6-8pm

Andres Serrano opens at Yvon Lambert, 550 W 21st St, btw 10th and 11th, 6-8pm

Mike Cloud opens at Max Protetch, 511 W 22nd St, btw 10th and 11th, 6-8pm

Roe Ethridge opens at Andrew Kreps, 525 W 22nd St, btw 10th and 11th, 6-8pm

Keith Tyson opens at Pace Wildenstein, 545 W 22nd St, btw 10th and 11th, 6-8pm

Jonathan Calm opens at Caren Golden, 539 W 23rd St, btw 10th and 11th, 6-8pm

Neil Campbell opens at Marianne Boesky, 509 W 24th St, btw10th and 11th, 6-8pm

Allison Schulnik opens at Mike Weiss, 520 W 24th St, btw 10th and 11th, 6-8pm

Jim Pirtle, curated by The Art Guys, and Cecelia Condit, curated by Mary Lucier, open at CUE, 511 W 25th St, btw 10th and 11th, 6-8pm

Chris Duncan opens at Jeff Bailey, 511 W 25th St, #207, btw 10th and 11th, 6-8pm

Jodie Carey opens at Daneyal Mahmood, 511 W 25th St, 3rd Fl, btw 10th and 11th, 6-8pm

Patricia Berube opens at Soho 20, 511 W 25th St, Ste 605, btw 10th and 11th, 5-7pm

Aaron Johnson opens at Stefan Stux, 530 W 25th St, btw 10th and 11th, 6-8pm

Entre Chien et Loup opens at Kent, 541 W 25th St, btw 10th and 11th, 6-8pm

Su Xinping opens at China Square, 545 W 25th St, 8th Fl, btw 10th and 11th, 6-8pm

Olivier Blanckart opens at PPOW, 555 W 25th St, 2nd Fl, btw 10th and 11th, 6-8pm

More than Words opens at Von Lintel, 555 W 25th St, btw 10th and 11th, 6-8pm

Falling Away opens at Lana Santorelli, 110 W 26th St, btw 6th and 7th, 6-9pm

Johnston Foster opens at Rare, 521 W 26th St, btw 10th and 11th, 6-8pm

Larissa Bates opens at Monya Rowe, 526 W 26th St, #605, btw 10th and 11th, 6-8pm

Michal Chelbin opens at Andrea Meislin, 526 W 26th St, #214, btw 10th and 11th, 6-8pm

Kevin Cooley opens at Massimo Audiello, 526 W 26th St, #519, btw 10th and 11th, 6-8pm

Jane Hammond opens at Galerie Lelong, 528 W 26th St, btw 10th and 11th, 6-8pm

Alexey Kallima opens at Lehmann Maupin, 540 W 26th St, btw 10th and 11th, 6-8pm

All Cut Up, curated by Rita De Alencar Pinto opens at Roebling Hall, 606 W 26th St, btw 11th and 12th, 6-8pm

Peter Mallo opens at Walter Randel, 287 10th Ave, btw 26th and 27th St, 6-8pm

Polixeni Papapetrou opens at Foley, 547 W 27th St, 5th Fl, btw 10th and 11th, 6-8pm

The Form Itself, curated by Michael Buhler-Rose opens at Priska C Juschka, 547 W 27th St, btw 10th and 11th, 6-9pm

Farrell and Parkin open at MY Art Prospects, 547 W 27th St, 2nd Fl, btw 10th and 11th, 6-8pm

Josef Koudelka opens at Aperture, 547 W 27th St, 4th Fl, btw 10th and 11th, 6-8pm

Lisa Jarnot and Stacy Szymaszek read at Solas, 232 E 9th St, btw 2nd and 3rd, 7:30pm, Free, presented by St Mark’s Bookshop


Out Now! opens at e-flux, 41 Essex St at Grand, 6-8pm

Carlos Bevilacqua and Jessica Mein open at Simon Preston, 301 Broome St, btw Forsyth and Eldridge, 6-8pm

Daniel Domig opens at Thrust, 114 Bowery, 3rd Fl, btw Grand and Hester, 6-8pm

Emerging Artist: Juried Screening at ISE Cultural Foundation, 555 Broadway, btw Spring and Prince, 5-8pm

Melodie Provenzano opens at Lyons Wier Ortt, 175 7th Ave at 20th St, 6-9pm

Shimon Attie and Kay Hassan open at Jack Shainman, 513 W 20th St, btw 10th and 11th, 6-8pm

Bendix Harms opens at Anton Kern, 532 W 20th St, btw 10th and 11th, 6-8pm

Michel Auder and Paul Bloodgood open at Newman Popiashvili, 504 W 22nd St, btw 10th and 11th, 6-8pm

Masao Yamamoto and Hiroh Kikai open at Yancey Richardson, 535 W 22nd St, btw 10th and 11th, 6-8pm

Joel Sternfeld opens at Luhring Augustine, 531 W 24th St, btw 10th and 11th, 6-8pm

Baker Overstreet opens at Fredericks and Freiser, 535 W 24th St, btw 10th and 11th, 6-8pm

Thilo Heinzmann opens at Bortolami, 510 W 25th St, btw 10th and 11th, 6pm

Kyung Jeon opens at Tina Kim, 545 W 25th St, 3rd Fl, btw 10th and 11th, 6-8pm

Phyllis Bramson opens at Claire Oliver, 513 W 26th St, btw 10th and 11th, 6-8pm

Jeronimo Elespe opens at John Connelly, 625 W 27th St, btw 11th and 12th, 6-8pm

Yevgeniy Fiks opens at Winkleman, 637 W 27th St, btw 11th and 12th, 6-8pm

Alicia Ross opens at Black and White, 636 W 28th St, btw 11th and 12th, 6-8pm

Opportunity at Community opens at Dieu Donné, 315 W 36th St, btw 8th and 9th, 6-8pm

In Residence: Recent Projects from Sculpture Space opens at EFA Project Space, 323 W 39th St, 2nd Fl, btw 8th and 9th, 6-8pm

Mel Kadel and Suzanne Sattler open at Cinders, 103 Havemeyer St, #2, at Grand, Brooklyn, 7-10pm

David Sandlin and Arthur Cohen open at Jack the Pelican, 487 Driggs Ave, btw N 9th and N 10th, 7-9pm

John O’Connor opens at Pierogi, 177 N 9th St at Bedford, Brooklyn, 7-9pm

Performance by Shaun El C Leonardo and Clifford Owens at Momenta Art, 359 Bedford Ave at S 4th St, 7-9pm

Katie Klencheski and Jude Hughes open at AM Richard, 328 Berry St at S 4th St, Brooklyn, 6-9pm

Hannah Barnes and Kristine Taylor open at Work, 65 Union St, btw Columbia and Van Brunt, Brookyn, 7pm

Men on Maps opens at Haven Arts, 50 Bruckner Blvd, Bldg A, at Alexander Ave, Bronx, 5-9pm

Yasmine Chatila opens at Edelman, 47 E 63rd St, btw Park and Madison, 6-8pm

The Howl Festival begins, full schedule and locations here

Wine and Design at DWR Columbus Avenue, 341 Columbus Ave, btw 76th and 77th, 5-7pm, Free


Reception for Working Space 08, curated by Tatiana Arocha, at Cuchifritos, Essex Street Market, btw Delancey and Rivington, 4-6pm, part of the Howl Festival

Virginie Sommet opens at Collective, 173-171 Canal St, 5th Fl, btw Mott and Elizabeth, 6-9pm

David Opdyke opens at Ronald Feldman, 31 Mercer St, btw Canal and Grand, 6-8pm

Kota Ezawa opens at Murray Guy, 453 W 17th St, btw 9th and 10th, 6-8pm

Zoe Beloff opens at Bellwether, 134 10th Ave, btw 18th and 19th, 6-8pm

Sally Smart opens at Postmasters, 459 W 19th St, btw 9th and 10th, 6-8pm

Fashion Week with Ayah Bdeir on the street in front of Eyebeam, 540 W 21st St, btw 10th and 11th, 4pm

Learn to Read Art: A History of Printed Matter, with a talk by AA Bronson, at Printed Matter, 195 10th Ave, btw 21st and 22nd, 3pm

Vik Muniz opens at Sikkema Jenkins, 530 W 22nd St, btw 10th and 11th, 6-8pm

David Harrison opens at Daniel Reich, 537A W 23rd St, btw 10th and 11th, 6-8pm

Ronnie Bass opens at I-20, 557 W 23rd St, btw 10th and 11th, 6-8pm

Silverstein Photography Annual opens at Silverstein, 535 W 24th St, btw 10th and 11th, 6-8pm

Hooking Up opens at Mary Boone, 541 W 24th St, btw 10th and 11th, 5-7pm

Shannon Plumb and Moyna Flannigan open at Sara Meltzer, 525-531 W 26th St, btw 10th and 11th, 6-8pm

Mona Vatamanu and Florin Tudor open at Lombard Freid, 531 W 26th St, 2nd Fl, btw 10th and 11th, 6-8pm

Dark Pop, curated by Andrew Michael Ford, opens at Last Rites, 511 W 33rd St, btw 10th and 11th, 7-11pm

Charles Seliger and Theodore Roszak open at Michael Rosenfeld, 24 W 57th St, 7th Fl, btw 5th and 6th, 3-6pm

Polar Light: Greenland opens at Look North, 275 Conover St, Ste 4E, at Reed, Brooklyn, 7-9:30pm

Differences in Attitudes About Performance from the 1970s to Today, a panel discussion with Marina Abramovic, Amanda Coogan and Chrissie Iles, at Artists Space, 8pm, Free,

Creative Time presents Mark Tribe’s Port Huron Project 6 at Dag Hammarskjold Plaza, 46th St, btw 1st and 2nd, 11am-2pm


Creswell Crags opens at Lisa Cooley, 34 Orchard St at Hester, 6-8pm

Raha Raissna opens at Miguel Abreu, 36 Orchard St, btw Canal and Hester, 6:30-9pm

Kevin Bewersdorf opens at V and A, 98 Mott St, btw Hester and Canal, 4-6pm

Vidya Gastaldon opens at Salon 94 Freemans, 1 Freeman Alley at Rivington near Bowery, 6-8pm

Jeffar Khaldi opens at Thierry Goldberg, 5 Rivington St, btw Chrystie and Bowery, 6-8pm

Jennifer Steinkamp opens at Lehmann Maupin, 201 Chrystie St, btw Stanton and Rivington, 12-6pm

Rashawn Griffin opens at Smith-Stewart, 53 Stanton St, btw Eldridge and Forsyth, 4-6pm

Trong G Nguyen opens at Fruit and Flower, 53A Stanton St, btw Eldridge and Forsyth, 7-9pm

Henry Samelson opens at Sunday, 237A Eldridge St, btw Stanton and Houston, 4-6pm

Gravitas opens at Dorsky, 11-03 45th Ave at 11th St, LIC, 2-5pm


Padma Viswanathan in conversation with Ann Patty at Mcnally Jackson, 52 Prince St, btw Mulberry and Lafeyette, 7pm


When Time Becomes Form opens at Artists Space, 38 Greene St, 3rd Fl, btw Grand and Broome, 6pm

Greg Parma Smith opens at Studio 495 at the Swiss Institute, 495 Broadway, 3rd Fl, btw Broome and Spring, 6-8pm

Jordan Wolfson opens at Swiss Institute, 495 Broadway, 3rd Fl, btw Broome and Spring, 6-8pm

Jennifer Coates opens at Kinz Tillou and Feigen, 529 W 20th St, btw 10th and 11th, 6-8pm

Katy Siegel lectures at SVA, 133/141 W 21st St, Rm 101C, btw 6th and 7th, 6:30pm, Free

Louis Bourgeois opens at Cheim and Read, 547 W 25th St, btw 10th and 11th, 6-8pm

Giuseppe Penone opens at Marian Goodman, 24 W 57th St, btw 5th and 6th, 6-8pm

Simon Linke opens at Mireille Mosler, 35 E 67th St at Madison, 6-8pm

A Review of Too Far Too Close, the Os Gemeos exhibition * Deitch Projects * by Jenna Breiter

An emphasis on the bizarreness of human nature, and the complications of individuality, exists as an experience within Too Far Too Close, the current installation at Deitch Projects by two Brazilian brothers who call themselves Os Gemeos. The split-level gallery, covered in cotton-candy pink, holds an assemblage of paintings, murals, and mixed media projects; the space is truly inhabited.

The sculptural pieces mounted within the entrance floor boldly occupy the space. Their gaze conjures dynamism between their forms and among gallery visitors, who travel around them as if by necessity. One sculptural head, its base the form of a pyramid, has a doorway sliced into its walls. Inside, and far enough from the bumbling music and pinwheel of colors, viewers find space to remember and reflect, but chaos and vibrancy remains. Mirrored edge to edge, the space reflects disjointed and bent versions of the viewer. The pieces sing of the detailed aesthetics in the gallery’s open space, and upon returning to the main gallery, one sees the space differently, now considering the segmented parts, just as when confronted with a cracked reflection.

Images of people fill the gallery, with attention given to faces. The figures are caricature-like, their bodies stretched and bloated, in portraits and scenes of recreation and distant memory. The walls hold something akin to a cultural timeline, not a concise story with a beginning and end, and not so much measured by time but by aesthetic. Os Gemeos move their brushes from canvas to wall to floor and ceiling in a vibrant palette of browns, yellows, greens, and reds that proves their confidence in the aesthetic. Suddenly, the figures on the walls come to life as a record player spins and buzzes a semblance of noise. It is the exuberance within each piece that fashions ties between the numerous scenes. Details rush against one another, creating one large, collaborative story.

The small, flashing bulbs, the smooth paint application, the mobile of dangling heads, the body guitar, the towering, wooden twin head sculptures, with window-shutters for ears, sit within the gallery bound by a source of energy inherent in their colors. Strings of candy lights tick on and off, and the faces, bodies, and household items that fill the space form a chaos that ultimately radiates vibrancy. The characters twist and jumble.

Os Gemeos creates a porthole into their understanding of this world and its complications—a decidedly small incision, but a compelling one.


Deitch Projects , 18 Wooster St, btw Canal and Grand, through August 9

Is This Street Art? by Jon Sack Moron on Wooster btw Broome and Spring

Does anyone have Mr JS Moron's full text? Send it to