The Medusa in the title of Rosy Keyser’s fourth show at Blum refers to the upstate hamlet where she works, not the Gorgon, but there is a hint of that myth in the five huge abstract paintings here. Each one looks flash-frozen, an abstract assemblage of flowing materials—sawdust, which has the look of moss when she paints it, hunks of metal, sheets of plastic, the occasional beat-up rope—stopped at a precise moment on canvas by an exacting eye.
Look at This!
Peter Blum Gallery, which shows artists like Esther Kläs, Huma Bhabha and Superflex, is moving from its home on West 29th Street to a second-floor space at 20 West 57th Street that was once home to the Blum-Helman gallery (the latter was opened by Los Angeles dealer Irving Blum–no relation to Peter–and Joseph Helman in the late 1970s).
“Bankrupt Banks” is the latest solo exhibition of Superflex, an artist group composed of three artists, which continues its exploration of the many facets that have led to the financial crisis.
The exhibition, which opens on Thursday, March 1 at Peter Blum Chelsea, consists of 24 banners painted with the logos of banks that declared bankruptcy and then were acquired by other banks or private entities. The titles bear the name of the bank and the date it was acquired.
This week belongs to the Whitney Biennial, which opens Thursday–and the beloved Brucennial, which opens Feb. 29–but there are plenty more events on offer. Ten suggestions are listed below.
TUESDAY, FEBRUARY 28
Opening: Lan Tuazon, “Ingredients of Reality,” at Storefront for Art and Architecture
Artist Lan Tuazon, who has in the past created a casket as a self-portrait designed for upside-down burial, presents sculptures, drawings, and prints that explore how spaces are constructed products of political and capital values. In this new show, “Ingredients of Reality: the Dismantling of New York City,” Mr. Tuazon creates a new reality from existing structures, including buildings, lots and monuments in order to comment on how law and class structures give shape to the physical environment. Also here: a new work called Architectures of Defense–a foreboding cascading arrangement of wrought-iron fences. —Rozalia Jovanovic
Storefront for Art and Architecture, 97 Kenmare Street, New York, 7-9 p.m.
Let’s assume for a moment that Amazon.com is the best way to sell something to someone else online, the Platonic ideal of website retail. Imagine a version of Amazon.com that exists for just one week a year and requires you to have a little instant message conversation with a salesman as the first step to any transaction. If he likes you, or you’re known to him, he might take you to a “private room,” identical to any other inventory page, but where they keep the really good thriller novels. Fair warning! This version of Amazon.com has a reputation for being a little quirky technically as well. The chat function isn’t reliable, and the whole site once had to be taken offline for several hours, during that week of its existence.
Tomorrow, the Museum of Fine Arts, Houston, is putting on display selections from the 1,500-item edition archive of SoHo and Chelsea gallerist Peter Blum, who has been active as a print publisher for more than 30 years. The exhibition comes exactly 40 years after Mr. Blum began his art-dealing career at the storied Galerie Beyeler in Basel, Switzerland.
It’s theology that looks like a math problem: Is it possible for a wall to have only one side? In her first solo show in New York, at Peter Blum Gallery, the sculptor Esther Kläs’s answer is yes. Using sheets of two-inch Styrofoam to build up monolithic forms, and Aqua Resin dyed in a postwar German palette of cement grays and morbid dark grays, she molds the mysterious, axiomatically impenetrable outsides of things.