"I can spend hours agonizing over what I have seen and lost."—Rina Castelnuovo
A bowl of oranges and pitcher of water hold down a gold tablecloth that shimmers in the midday sun. A father concentrates on peeling a piece of fruit while his two little girls look up at him, expectantly. Behind them, a rugged desert terrain stretches until it touches the cloudless sky, which is a deep, saturated blue. Read More
Bling, string and subversive things were among the highlights at Pulse Contemporary and Scope International, just two of the at least seven satellite art fairs that set up shop in New York the same time as the Armory Show.
At a recent panel discussion on the topic of how artists are engaging with social media in their work, William Powhida cited Twitter and blogs as influences in his illustration of insider-ism at the New Museum. He likened engaging with Tyler Green and Paddy Johnson on Twitter to sharing an office, "where you poke each other periodically and make fun of each other, but you're getting important information very quickly that's otherwise hard to find."
Alex Prager's scene-stealing heroines have arrived in New York in Week-end
, currently on display at Yancey Richardson Gallery. Like the two previous shows in this series (Polyester
and The Big Valley
features large-format Technicolor portraits of luminous beauties done up in vintage Hollywood glamour. The Los Angeles native employs cinematic conventions such as the close-up and the damsel in distress, and the rich use of negative space to draw us into each carefully constructed scene. She leaves us just enough clues that we can piece together the narrative without giving away the big reveal. Stare long enough and you'll half expect the women to jump to life at the sound of a clapboard's loud snap
. Read More
The sheer square footage of Pulse's fourth New York show belies any sense of anxiety over the economy. Downtown, on Pier 40 at the western terminus of Houston Street, the venue comfortably houses more than 100 exhibitors and installations -- not counting the 43 large-scale light boxes leading up to its entrance, an installation by R. Luke DuBois titled "Hindsight is Always 20/20" (2008), which plucks the most common words from each president's State of the Union addresses and presents them as a Snellen eye chart.
Perhaps an after-effect of the cool sterility of DuBois's installation, or a consequence of the wide expanse of its football field-sized space, but once inside, Pulse feels like a country ramble: One will often have a piece… Read More