On View

‘Jory Rabinovitz: Eighty Three’ at Martos Gallery

EightyThree_InstallationView_005 FULL

Thin, rumbled snakes of fabric, winning riffs on Claes Oldenburg and Franz West, dance atop boxes and spill out of pipes that are made of copper and zinc and riddled with holes, seeming to have shed the pennies that are strewn on the ground around them. Jory Rabinovitz used those hard-to-love coins to produce his works, illicitly melting them to make the pedestals and pipes, and refining and oxidizing them to produce pigments to dye his textiles. (Coins from before 1983, made predominantly of copper, offer up verdigris; later ones, after the federal government exchanged pricy copper for zinc, yield a coral white.) Read More

On View

‘Lonely Girl’ at Martos Gallery

Installation view with works by Greem Jellyfish at front. (Courtesy Martos Gallery)

You have to hand it to Asher Penn, the multitasking artist and publisher who organized this show. His curatorial premise is a touch flimsy and awkward—female artists under the age of 30 (a milestone Mr. Penn reached last year) with rich online presences that blur art and life—but it has resulted in a finished product that feels bracingly au courant, for better and worse. People are arguing about it. You should see it, preparing both to swoon and roll your eyes. Read More

Don't Miss It!

Don’t Miss It! ‘LAT. 41° 7′ N., LONG. 72° 19′ W.’ at Martos in East Marion

Chris Martin, 'Dead Mother Returns #17,' 2013. (Photos by The New York Observer)

“LAT. 41° 7′ N., LONG. 72° 19′ W,” the massive group show that Bob Nickas has organized at Jose Martos’s new spread in East Marion, N.Y., has received no shortage of press since opening on July 13, but since it’s a little off the normal New York map, here’s a quick reminder that it closes this Monday, Sept. 2. This long weekend is your last chance to make the trip to the North Fork. It’s about a two-hour drive from Manhattan, but it’s well worth it. Read More

galleries

Domestic Art: Dealer Jose Martos Is Bringing It All Back Home

Martos's home in East Marion. (Courtesy Martos Gallery)

On an overcast afternoon in mid-July, a teenaged punk band was performing on the roof of a garage in East Marion, N.Y., near the easternmost tip of Long Island’s North Fork, half-singing, half-screaming “When the Saints Go Marching In.” The party guests, mostly artists sipping beer sourced from a keg, seemed to be enjoying the concert, if not a conventional art exhibition opening. Then again, Jose Martos, to whom the garage with the howling high schoolers belonged, isn’t a conventional art dealer.

Much of what Mr. Martos does flouts the standard operating procedure of his Chelsea peers. In a manner somewhat reminiscent of Jeffrey Deitch, he doesn’t represent artists so much as work with them, project to project, showing more emerging talent than big names and subsidizing it all with secondary market sales of established artists like Keith Haring. Then there’s Shoot The Lobster, his nomadic project space that has popped up everywhere from Milwaukee to Marseilles. (A month-long run as part of Gavin Brown’s Enterprise downtown ended last week.) That his 29th Street headquarters, Martos Gallery, lies on the outskirts of Chelsea proper feels appropriate. Mr. Martos does things differently. Read More