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As part of her contribution to the current Whitney Biennial, where she is also showing sculptures and photos, queer-culture icon K8 Hardy staged Fashion Show in the exhibition's fourth-floor performance space. Draping real models in her funky fashions-ingenious amalgams of thrift-store finds constituting a species of anti-couture—and sending them through a set designed by Oscar Tuazon (another Biennial artist), Hardy choreographed a fashion show that wound up straying not so very far from the genre it aimed to critique.
War on Women? Fuggetaboutit! Eminent women were honored in two separate ceremonies at the Brooklyn Museum on Wednesday, and women artists, exclusively, were selected to decorate tables at the second annual Brooklyn Artist's Ball, which rollicked the evening. The events marked the fifth anniversary of the museum's Sackler Center for Feminist art, where the feminist ur-table, Judy Chicago's Dinner Party, is permanently installed.
In spring 2011, Joyce Pensato lost a real-estate battle over her studio in Williamsburg and had to vacate the premises. She had been there for more than 30 years. Inside, apart from a number of inprocess monumental canvases and large drawings—works on view in her recent exhibition at Petzel—was a massive accumulation of found images and objects bespattered with paint. Photographs of the studio taken before she moved out—most shot by her, and collected in her new artist’s book, The Eraser—show the place as a species of Gesamtkunstwerk in which distinctions between finished artwork and inspirational matter were hazy at best.
After nearly a decade of renovations, the Stedelijk, Amsterdam's premier venue for modern and contemporary art, is scheduled to reopen Sept. 23 with a bold new addition designed by the local firm Benthem Crouwel Architects. The building, designed by Adriaan Willem Weissman in 1894, has been closed since 2003. The museum operated for a while in temporary headquarters, and for the past two years, under its new American director Ann Goldstein, has commissioned roving projects around the city.
When it comes to international art from all periods, no commercial event beats The European Fine Art Fair in Maastricht, The Netherlands, for upscale quality. Just unveiled is TEFAF's silver jubilee edition, marking 25 years with 260 dealers from 18 countries, through Mar. 25. Kicking off the fair was a symposium titled "Collecting: For Art or Money?," which illuminated the context in which this vital fair is unfolding: strength at the high end, weakness at the low, and an influx of Chinese buyers.
For years, the department of Prints and Illustrated Books at New York's Museum of Modern Art has expanded the limits of its ostensible specialization. Under the tenure of Deborah Wye in the 1990s and continuing with current head Christophe Cherix, who arrived in 2007, the department has assiduously sought out all manner of print-related works, not only limited editions and deluxe livres d'artistes but ephemera, installations, discrete objects and mass editions.
Ida Applebroog is awash in prints. There are offset posters—they will eventually number 750,000—that she is producing as a component of her contribution to this summer's Documenta. There is also a new pair of etchings, Vellum Sketches I and II, in small editions of 25 each, published by Diane Villani, with whom the artist has worked since 1985. Printed by Jennifer Melby in Brooklyn, each print presents multiple scenes of ambiguous interactions between a man and a woman, executed in pale blue lines. The scenes appear at times to overlap, as if we are seeing through one sheet of sketches onto another.
Liliana Porter invents absurdly catastrophic narratives for the slightly dated toys and figurines that populate her work. In assemblages, paintings, photographs and videos, the threat may consist of no more than ominously empty space or a flood of paint. In one collage, an actual, tiny toy duck skids joyously through a spill of white acrylic—which is, however, a veritable tsunami for the other toys, seen chaotically heaped in an underlying photograph, as if in consequence.
Joyce Pensato's current show at Friedrich Petzel is titled "Batman Returns," but it might have been called "The Return of the Repressed." Along with a generous sampling of recent paintings and drawings of Batman and other cartoon character heads and masks in her signature style of aggressive strokes and drips, Pensato includes detritus from the Brooklyn studio she was forced to vacate last spring after 32 years of occupancy, allowing visitors to see the traces of her private creative process.
Jessica Dickinson works on small groups of paintings over a very long time—as much as a year. Each is inspired by some chance observation or physical phenomenon, which, while it constitutes her starting point, will disappear as an image over the course of the painting’s fabrication. The delicacy, even the loss, of the inspiring phenomenon is at odds with the almost overwhelming materiality of the finished work, which recalls Jay DeFeo’s The Rose in its accreted weight.