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Mitchell-Innes & Nash

This Week’s Must-See Art Events: Djinns Against Digital Colonialism, John Waters Action Figures, and “Werifesteria”

by Michael Anthony Farley on May 22, 2017

This week you’re in for a weird ride. From Aaron Pexa’s installation inspired by faeries from Welsh mythology (opening Wednesday at UrbanGlass) to a show of fake John Waters memorabilia Thursday night at La MaMa, there’s a lot of idiosyncratic happenings to partake in. Add to that itinerary a Friday night group show of emotion-altering colors (like the opposite of a mood ring!) at Small Editions and Eva Papamargariti’s speculative mutant frogs at TRANSFER on Saturday.

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We Went to Frieze, Part Two: Pussy Hat Show Flops, Anti-War Hard On Holds Up

by Paddy Johnson and Michael Anthony Farley on May 5, 2017

Yesterday we discussed the overall look and feel of Frieze and concluded that this iteration of the fair is far superior to previous years. Lots of lively inventive work and short on the kind of soulless work in a frame that can make these events so tedious. Today we take a deep dive into a lot of the art we saw. Let’s get down to the nitty gritty.

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Who’s Wearing the Pants at Frieze Week?

by Paddy Johnson and Michael Anthony Farley on May 5, 2017

In which Michael Anthony Farley and Paddy Johnson nerd out and discuss Frieze and NADA and the changing art fair landscape.

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This Week’s Must-See Art Events: Happy Not-My-President’s Day

by Michael Anthony Farley on February 20, 2017

Kick the week off with the closing reception of an anti-Trump poetry show at EIDIA House, part of their “Plato’s Cave” exhibition series. Tuesday, artist Hakan Topal and curator Joanna Lehan talk about representations of refugees at CUNY’s Graduate Center, and Wednesday two artists plunge into the aesthetics of capitalism and consumption at respective openings downtown.

Things lighten up a bit starting Thursday. We’re looking forward to the NYC debut of North Carolina artist Carmen Neely at Jane Lombard Gallery and Monica Bonvicini’s oddly sexy work at Mitchell-Innes & Nash. On Friday, AFC friend Saul Chernick is opening a collaborative show at NURTUREart in Bushwick, and Saturday Liinu Grönlund’s rat-centric video work goes live at Open Source Gallery. End the week with a timely show about barriers and portals from A.K. Burns at Callicoon Fine Arts.

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Wednesday Links: Legions of Frog Profile Pics, Explained

by Paddy Johnson on September 28, 2016

Image via the ArtPrize Facebook page. Artist unknown.

The Anti-Defamation League has listed the meme Pepe the Frog as a hate symbol. I guess that explains why so many Donald Trump supporters on Twitter use Pepe’s image as their profile pic. [The New York Times]
Plans have been unveiled for the new Penn Station within the old Farley Post Office. The new design from Skidmore, Owings & Merrill is obviously better than the claustrophobic conditions under Madison Square Garden, but mostly this design is pretty bland. It just feels like a glass mall or airport anywhere. Yawn. [Curbed]
An article that connects culture wars of 1990s to the rise of gentrification. [The Los Angeles Times]
Related: It’s almost impossible to get a grant from the National Endowment for the Arts. If you’re an artist who is being approached on Facebook by a stranger claiming to be an NEA employee trying to give you money, it is obviously a scam. Yes, this is apparently a real problem. [artnet News]
Ella Coon visits Jessica Stockholder’s The Guests All Crowded Into the Dining Room at Mitchell-Innes & Nash. The center of the exhibit is a platform that both references a table and provides a vantage point to look down on the rest of the art, “This bird’s-eye view, however, holds more symbolic clout than this description suggests. And, viewed against the dish of jettisoned shells, which now looks more like the remnants of a seagulls’ bacchanal, it begs the question of what it really means for humans to make and consume anything.” [ARTnews]
Bad at Sports talks with performance artist Sam Hertz. The sound of the actual interview could use some help—lots of philosophical discussion about perception and the nature of knowledge here. “How do you know the snow is white?” Little too much navel gazing here, but still – a reasonable listen for the studio. [Bad at Sports]
One of the few remaining public housing structures left in Chicago after the Hope VI program gutted the city’s affordable housing stock will become a museum. The National Public Housing Museum (NPHM) will open in time for the 2018 Architecture Biennial. [The Architect’s Newspaper]
Voting doesn’t always produce informed consensus. Take the US Presidential race as one example. Take ArtPrize, a 19 day art orgy in Grand Rapids Michigan, in which the public votes for their favorite work of art, as another. We’ve seen plenty of questionable finalists and winners. An article detailing highlights, lowlights and everything in between. Looks like Kiki Smith is a participant this year! [Detroit Free Press]
“Breaking News: Cassils”, at Tufts University in Boston gets a review. In one video now on view, a black and white montage of volunteers at SF Pride pop balloons through the gesture of hugging. It sounds like gunshots and is a memorial to the people who were murdered at The Pulse Nightclub in Orlando Florida. [Hyperallergic]

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This Week’s Must See Art Events: Cuban Death Metal Sci-Fi, Art Book Fairs, and More

by Michael Anthony Farley on September 13, 2016

One of the great things about the art world is its permeability with other fields. Except that can seriously compound one’s #FOMO when one’s art calendar gets squeezed by spillover from Fashion Week in Manhattan, three publication fairs across the East River, political organizing, and art-film screenings. Phew.

Wednesday, catch some more conventional art openings uptown and in Chelsea with solo projects from Henry Hudson and Oscar Murillo, respectively. (Actually, Murillo’s vaguely haunted-house sounding installation promises to be anything but conventional). Thursday, check out Jessica Stockholder’s latest work at Mitchell-Innes & Nash, gender-bending in the Garment District, and black-metal-meets-science-fiction-literature from Cuban artist Yoss (how’s that for interdisciplinary?)

That night, Printed Matter’s NY Art Book Fair is having a preview party. It will be running all weekend, along with the new Independent Art Book Fair in Greenpoint. Friday brings us group shows about failure at TSA New York and Radiator Gallery and Saturday there’s a mysterious fashion/art event at Romeo with an all-star cast to raise funds for Planned Parenthood. Finally, Paddy Johnson is hosting an anti-gentrification panel discussion in Sunnyside, Queens that’s an absolute must-attend. And if you want to remember why we want to keep the city weird, end the day in the immersive-subversive film installation of Jon Moritsugu at Ramiken Crucible in the LES.

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The Real Estate Blues Again: ”If you can’t afford to live here, mo-o-ve!!” at Mitchell-Innes & Nash

by Emily Colucci on June 29, 2016

One of the first works you see in Martha Rosler’s exhibition If you can’t afford to live here, mo-o-ve!! is a dark and ominous portrait of Donald Trump. Leaning against a wall, the Trump tableau sits behind three glass bottles filled with urine. Is the piece a biting comment on Trump’s pissant Republican presidential campaign? Is it a playful but terrifying foreshadowing of his future official White House portrait?

Andrew Castrucci’s Untitled (Donald Trump) is neither. A quick glance at a nearby wall label confirms Castrucci’s Trump was painted in 1986. Created well before Trump’s presidential ambitions, Castrucci’s work instead critiques Trump as a reckless developer gobbling up large swaths of New York and Atlantic City real estate. As relevant then as it is now, Untitled (Donald Trump) reveals the uncanny confusion between the past and present that runs rampant throughout Rosler’s overstuffed exhibition at Mitchell-Innes & Nash.

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This Week’s Must-See Art Events: Old School Survival

by Paddy Johnson and Rea McNamara on June 6, 2016

Urban survival, whether it’s the cost of living in New York or even riding along Sag Habour in a self-sustaining houseboat, looms largely in this week’s events. Tonight’s lecture at the Morbid Anatomy Museum suggests that this dates back to Weimar Berlin’s era of anarchy and decadence, where fake fakirs — religious ascetics who live solely on alms — got by with their gnarly nails and pins piercing. Flash forward to Saturday’s MoMA opening of Nan Goldin’s famous 1986 visual diary “The Ballad of Sexual Dependency”, and those piercings became the battle scars of surviving the East Village’s punk bohemia. Today, we’re thankfully more practical in eking out our incomes: we look to the sun and its instruments (see this Thursday’s opening of the “Heliotropes” group show at Geary Contemporary) or envision terrible futures in our analogue pasts (“that old school dystopia” at Theodore:Art on Friday). But sustainability, if we quickly cut to the chase, really involves supporting each other, which is why this weekend’s workshops around the nuts and bolts of artist finances or even writing and editing an artist statement will get you ahead. No need for any physical scars.

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Fresh New Digs for Aging Independent

by Chris Green on March 4, 2016

The Independent art fair is apparently all grown up and ready to cement its place of privilege in a new Tribeca location. This year’s event space, Spring Studios, is better known for exclusive fashion and Tribeca Film Festival events, but the organizers believe it is just right for a fair that now considers itself to be mature and ambitious. Aging is perhaps a more appropriate characterization here—this year, the formerly new-blood establishment of the Independent seems as though it is content to coast into retirement.

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This Week’s Must-See Art Events: FREE CHILI

by Paddy Johnson and Whitney Kimball on March 17, 2014

This week’s events include Audubon, purveyors of good taste, bad taste, chili, and a lot of emerging talent.

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