Three editors trekked out to see the first fall shows in the LES. They came back with plenty of banter about some of the season’s best shows so far—at Thierry Goldberg, Invisible-Exports, and CANADA, respectively.
The art world likes to give the appearance of cool omniscience, so it seems unlikely that the indoctrinated will take a shine to the Lower East Side’s Vector, the “Official Gallery of Satan.” In an art context, devil worship (especially by a bunch of twenty-somethings) typically indicates a little more emotional immaturity than we’re willing to take seriously.
That’s too bad, because as an artwork, Vector offers plenty to think about.
Governor’s Island Art Fair (GIAF) isn’t your typical fair. At GIAF, there are no identical dry-walled booths or uniform foam core placards. There are no stranded-looking gallery girls and boys checking their phones, and no one is ignored for not looking collector-y enough. The rooms are manned by the artists themselves or feature some kind of note on the wall thanking visitors for coming by. On the whole, artwork is installed in a way that responds to the natural light coming through windows, the slanted walls of attics, and the curving banisters in the stairwells. It’s a nice place to go.
“Curating digital artworks in physical spaces and online exhibitions is becoming more widespread, but such exhibitions mostly take place outside the world of traditional art.” This present-day dilemma posed by Independent Curator Annet Dekker forms the basis of Speculative Scenarios, or what will happen to digital art in the (near) future, a new publication that gathers responses on how to tackle digital art’s conflicted relationship to museums and more traditional, offline exhibition sites. The point is: Digital art is being shown, but museums aren’t playing a large enough role in its collection, exhibition, or conservation.
9.5 Theses on Art and Class, by Ben Davis, editor of Artinfo, is both victim to and substantiated by Davis’s adamant worldview. Beginning with the Marxist-centric essays of the early chapters then expanding to more general issues facing the art world, the text saves itself from being an open-ended musing by framing each subject within its relationship to class ideology. This same ideology, however, leads him make some less than irrefutable claims.
Llyn Foulkes’ paintings are full of quirky found objects, unexpected textures, and an unfettered, playful use of paint. But they’re not perfect. The materials can seem secondary to conveying those very simple, heavy-handed messages. I can like art that I disagree with, but Foulkes’ obsessions are at times feebly argued, and borderline crazy, making it hard to love his paintings entirely.
In its thirty-three year run, the Bronx Museum’s AIM (Artists in the Marketplace) Program has touched a surprising extent of the New York art world. It’s rare to go on a gallery tour in this city without coming across one of its alumni, who range from establishment members like Glenn Ligon and Anton Vidokle, to rising stars like LaToya Ruby Frazier and David Gilbert. And now, AIM’s second Biennial “Bronx Calling”–a recent development for program alums–adds 73 new members to the roster. It’s a truly diverse showing of New York City-based talent getting its first leg-up into the art market. As far as the commercial art world is concerned, AIM is the Bronx Museum’s most significant contribution to New York art. So why aren’t people talking about this?