First up, the "Ecstatic" group show at St. Cecilia Parish in Greenpoint. The show is organized by the Round Robin Arts collective, and included a four week program of screenings, performances, and panel discussions. There were tons of tiny rooms with paint peeling off the walls, and about 30 artists participating.
(sorry for the glare) I thought this photograph was a document of some sort of intervention of swim lanes in a lake; but the title suggests it was found this way at a Vietnamese national park.
Lights flash on and off in a pattern.
These are photographic documents of a gallery installation/performance. As you approach this pod embedded in the wall . . .
. . . a young woman stares out at you, returning your gaze.
A messy mechanic/dollhouse disaster/glue gun aftermath of a sculpture.
The details were a mix of sloppy and precious, lots of gossamer elements shone in the light from a southerly window.
This photo of a simple leather belt in the shape of a heart adroitly installed in a small closet.
I've learned that this artist lives near me, I see his posters at the local coffeehouse and they match some of the work on his website. Also, he knows my buddy James Sham and links him on his website. Someday perhaps we will meet. This was a reading room with all types of ephemera taped to the walls and sitting on tables.
Dorothy Royle
Dorothy RoyleA plant in the window, is actually a paper sculpture, folded, cut painted. The artist returned throughout the show to append more blossoms, and wilt others.
Dorothy Royle
Dorothy Royle
The building mirrored the artist's labours. The painted walls really reminded you of history in the parrish.
Gisela InsuastePainted wood installation. I feel like I've seen plenty of this type of work, and although I was immediately drawn to it, in recollection it feels uninventive.
(collaborating with Stuart Keeler).
These two artists filled a room with pieces under the project heading "After Yoko." Recently moving to separate cities, they challenged each other to make 3 pieces each following rules sent by text message. Here Amanda began laying down yellow tape in Grand Central Station until she was stopped by a policewoman. 9 large photos and the balled up remains of the tape are on display.
This type of performance is scarce in New York lately, the post 9-11 era has stifled questions of public space maneuverings. Young artists that might naturally have 'interventionist' or 'actionist' leanings are challenged with confronting deep, raw fears connecting the unknown with terror. Sure Amanda is doing a simple piece to push gently against this boundary, but she must know what she's doing. Grand Central is a major transportation hub, now heavily patrolled by K-9 units, and uniformed armed soldiers.
Amanda is a New York contributor to the Chicago based art podcast "Bad at Sports."
Recently, she prepared Art Battleship for the HashtagClass show at Winkleman Gallery. Conceptual v. figurative, artists v. dealers, painters v. everybody.
St. Cecilia's Parrish Here's the exterior of the building. I will be showing in another group exhibit here next week.
21 Monitor Street, Brooklyn
The opening will be a good time:
Thursday, April 15
7 pm
Okay, so speaking of openings, we also recently attended this show (entitled "Premonitions")
at Deitch Projects. This was the end of an era, the last Jeffrey Deitch show before he leaves NY, and his career as a private gallerist. The artist just left his last gallery, LFL/Zach Feuer, to join Deitch, and now is left without a gallery, after this show.
I was with a few painters, and we had a spirited discussion that actually ran late into the night about this work. Some felt it was very good illustration, or technically savvy 'boy art'; that the colors aren't challenged or pushed . . .
These pictures don't give enough detail. I swear I will begin using a better camera on the next post. There are lots of taped off edges, and layers of oil on acrylic.
Some paintings were hung quite high.
I think his smaller paintings in general were more successful. The larger ones didn't have the imagination or improvisation that the smaller ones did. But then, maybe I couldn't see them well because there were hundreds of people milling about. Until next time, which will be soon . . .
