On View

‘My Old Friend, My New Friend, My Girlfriend, My Cousin and My Mentor’ at Shoot the Lobster

A work by John Ingiaimo. (Courtesy Shoot the Lobster)

After the kegger as après le déluge. An untitled, seven foot high transparent Chinese screen of hollow steel girders by Carol Bove snakes through the middle of Shoot the Lobster’s basement space on Eldridge Street, around a drain in the concrete floor, between two duffel bags fabricated by JPW3, the young painter who also organized the show, and Sara Gernsbacher, working together under the name “Patches,” from discarded canvases of his, almost scraping the ceiling. Next to it is RPT1, a debauched popcorn maker installation by JPW3. Read More


Shoot the Lobster Headquarters to Open in Luxembourg


Chelsea dealer Jose Martos‘s semi-nomadic project space Shoot the Lobster has cropped up on the Continent before, materializing temporarily in places like Düsseldorf and Marseilles, but it will be in Luxembourg that it puts down permanent roots. The new headquarters will open on Nov. 21 with a group show organized by former Marlborough Chelsea director James Cope, who will be the space’s curator. His debut exhibition will bring together a number of STL veterans such as mystery monochrome painter Henry Codax, photographer Ryan Foerster, Anges Lux and Servane Mary, among others, in addition to few new faces. Read More


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


Shooting the Lobster, Martos Prepares Independent Project Space

The announcement for Chris Martin's exhibition. (Courtesy Shoot the Lobster)

As far as gallery names go, it’s hard to think of any as wonderfully bizarre as the one debuting in Chelsea tonight: Shoot the Lobster.

“It’s from a Clash song,” curator Mary Grace Wright, who’s heading the project, explained. (Sure enough, the band’s 1981 single “Magnificent Seven” contains these lines: “Italian mobster shoots a lobster / Seafood restaurant gets out of hand.”) Read More