Their House: How the Still House Group Turned a Red Hook Studio Into an Art World Success Story

Still House Group's studio in Red Hook.

Walking down Van Brunt Street in Red Hook on a bright February afternoon, one is treated to the city’s finest view of the Statue of Liberty. The squeal of trucks unloading produce at the bustling Fairway Market (the neighborhood’s de facto town square) and the grunts of men hauling crates into warehouses make for a loud entrance. The bone-chill of New York Harbor is made all the more menacing by the eerily incandescent glow of Ikea. One feels far from Manhattan here. One feels far even from other parts of Brooklyn, which has made Red Hook an obvious settlement for artists. Read More


There’s Something Funny About Donelle Woolford

'Dick's Last Stand' at CCA Wattis in San Francisco, Feb. 6. (Courtesy CCA)

In late January, the artist Donelle Woolford, a black woman with short hair who looks to be in her mid 30s, was at the Los Angeles Art Book Fair, outfitted in a 1970s-style suit and mustache, doing a Richard Pryor routine. It went well, but it could have gone better. The book fair, she wrote in an email shortly afterward, “maybe wasn’t the best context for a Richard Pryor routine.” This particular routine was recorded as the final episode of Pryor’s 1977 television show (which only lasted four episodes) and was pretty much engineered to be censored. “I think the audience was a bit taken aback by all the N-bombs and F-bombs,” she said. Everywhere she has gone—a museum in San Francisco and community centers in Chicago and Oakland have been among her stops—audiences have reacted differently. Read More


The Holy Fool From Oberhausen: Christoph Schlingensief’s Riotous Art Comes to New York


“Tötet Helmut Kohl” (“Kill Helmut Kohl”) read the banner that got German artist Christoph Schlingensief arrested. It was 1997, and the sign aimed at the conservative chancellor was part of his project for Documenta, the prestigious quinquennial art festival in Kassel, Germany. He could have gotten off the hook by telling the authorities it was “just art,” but he and the young curator backing him had other plans. Read More


Harvey Quaytman on Paintings and Social Justice

'Untitled' (1985) by Quaytman. (Courtesy McKee Gallery)

Great news. Phaidon has just published a new monograph for the late, great New York artist Harvey Quaytman (1937–2002), and it is a excellent.

Art historian Dore Ashton provides an illuminating introduction to the work of the hard-edge painter, which includes warm remembrances of the friendship that they shared for decades. There’s also a discussion from 1987 between the artist and Kimmo Sarje, an artist, curator and philosopher of aesthetics, in which Quaytman discusses the shifts in his thinking about his work over the years. It includes a super inspiring bit about the value of art, which follows below. Read More


The Siren Song of Liz Glynn: The Artist on Shipwrecks, Pirates and Sending a Performer to Staten Island

Liz Glynn. (Photo by John Sciulli/WireImage)

Last week, the artist Liz Glynn was standing with me in the back room of Paula Cooper Gallery’s space on 10thAvenue, beneath the busted hull of a to-scale 18th-century shipping vessel she had constructed for her new exhibition. It was hanging by rope from the ceiling. She built it with hardwood, which is not easy to find in Los Angeles, where she lives, and used traditional planking techniques to assemble it. The piece, she said, is an homage to piracy and “thieves taking everything that they want off a ship and then burning it and then allowing it to sink,” something she researched intensely through journalistic accounts, along with Daniel Defoe and “The Wreck” by Alfred Lord Tennyson.

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Stark Realities

Stark with a still from her 2013 video 'Bobby Jesus’s Alma Mater b/w Reading the Book of David and/or Paying Attention Is Free.' (Photo by Charles Roussel)

After taking the stage to warm applause at MoMA P.S. 1’s Performance Dome on Sunday afternoon, the artist Frances Stark held up a little tissue. “I have a Kleenex, just in case,” she said with a sad smile.

Ms. Stark, who is probably best known for the funny, strangely moving videos she has been making over the past few years with transcripts of online chats that she has with strangers, was at P.S. 1 to give a lecture about her longtime mentor, Mike Kelley, who killed himself in 2012 and is now the subject of a galvanizing and almost unanimously praised retrospective that fills every gallery in the museum, as well as quite a few of its hallways and stairwells. She had titled the talk “Complex Education: Paying Homage.” Read More


The Shaw-Flanked Pretension: Raqib Shaw Hits New York for First Gallery Show Since 2005

Mr. Shaw with a work of his. (Courtesy Pace Gallery)

When I first met Raqib Shaw, the Kashmiri pop painter who lives in London and recently opened a three-part show at Pace Gallery’s Chelsea spaces, he’d arrived 20 minutes late to the mid-block gallery, this after having pushed our meeting a half-hour later. When he did arrive, it was with a group of middle-aged women, who I assumed were collectors, along with Andrea Glimcher, Pace’s director of communications, who towered over him in heels. She’d brought her son with her, a small blond boy who shortly after arriving laid face down on the floor. “Oh, don’t mind him,” Ms. Glimcher said. “He thought he was going to the Natural History Museum today.” Read More