At the New York Art Book Fair this past weekend at MoMA PS1, I came across a little book called A List of Students Enrolled in Post Studio Art, with Michael Asher at CalArts, 1976-2008 at Golden Spike Press’s stand. The title pretty much sums it up: each page page features the roster for one semester that Asher taught that famous class, which was notorious for stretching from 10 a.m. in the morning until well into the evening. (You may recall that Sarah Thornton wrote about the experience of attending in her 2008 book Seven Days in the Art World.) Read More
Don't Miss It!
“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
If you’re employed at a Monday-through-Friday job, it’s time to schedule a long, relaxing lunch break before the end of the week, to ensure that you make it over to David Nolan Gallery’s delectable Richard Pettibone survey before it closes this Friday, Aug. 9. It is one hell of a treat, and it would be a shame to miss it.
The show features 45 works by Mr. Pettibone (not to be confused with Raymond Pettibon) dating from 1964 through 2003. Most are the loving, miniature reproductions of contemporary art that he has been making for the past 50 years—Warhol soup cans, Lichtenstein beauties and Stellas shrunken down to just a few inches on each side. Read More
Jean’s Vision (2011), one of Ann Toebbe’s works in the Hein Koh–curated group show “Show #7: Sunday Paintings for a Rainy Day” at Field Projects in Chelsea, measures only 12 inches by 16 inches, but it gets plenty done within that tiny space. Her view of a precious little living room is filled with myriad patterns Read More
Last night, amid all of the mayhem of opening night in Chelsea, Matthew Marks’s smallest space on West 22nd Street, right next to 10th Avenue, was an oasis of calm at about a quarter to 8 p.m., perhaps because, looking through the gallery’s windows from the street, the display looked rather modest: just a few small sculptures sitting on podiums. Grander spectacles were on offer elsewhere. Read More
Four of the huge, ridiculous sculptures that John Chamberlain had fabricated out of colored aluminum foil during the last years of his life are on view now outside the Seagram Building, on Park Avenue, between East 52nd and 53rd Streets. They’re a wild sight outside that Ludwig Mies van der Rohe and Philip Johnson’s austere and Read More
Most of the current Alighiero Boetti retrospective at the Museum of Modern Art is housed in the second-floor atrium and on the sixth floor, but there’s one work tucked away in the sculpture garden, surrounded by a pile of stones and a few warning signs. That’s Boetti’s 1993 Autoritratto (Self-portrait), a bronze sculpture of the artist that is heated with electrical equipment inside his head (“Please do not touch,” those signs state). Read More
The second show at the new Upper East Side gallery Venus Over Manhattan is filled with bulletin boards. (Disclosure: Venus Over Manhattan is owned by Observer contributor Adam Lindemann.) The West Village alternative space White Columns, which has been home to a bulletin-board exhibition space for a number of years, gave bulletin boards to more than 20 artists and art types and asked them to present something with it. Read More
When the door closed behind me at the Real Fine Arts gallery in Greenpoint last Sunday afternoon, it was completely pitch black—so black, in fact, that it was impossible to see my hand when I waved it in front of my face, much less the two gentlemen I had seen when one opened the door to let me inside. Which was a little unsettling. Read More