Fab Five Freddy Saw the Old Friends at Rammellzee Opening

Photo courtesy Rozalia Jovanovic

“It’s a bit of a story, but he found us,” said filmmaker Charlie Ahearn about the late graffiti artist Rammellzee at the opening of “Rammellzee: The Letter Racers,” the debut show for Suzanne Geiss Company, a new gallery in Soho. “He was seeking out people he wanted to contact like Fab Five Freddy and Jean-Michel Basquiat and Fred was working with me on the film.”

Mr. Ahearn, who was speaking of the iconic ’80s hip-hop film he directed, Wild Style, was standing with Gallerist in a black-lit room. Above us, there were 26 “letter racers”—skateboards souped up and hung from the ceiling like a flock of aerodynamic, robotic birds flying madly out of a cave. Read More


At Brucennial, Harder to Get Into Than the Whitney Biennial, Unknowns Share Wall Space With Hirst and Schnabel

5 Photos

Damien Hirst and others.

There was a large marquee above a storefront on Bleecker with huge red letters that spelled out BRUCENNIAL. The Bruce High Quality Foundation, the secretive artist collective that refuses to be photographed, will only do interviews over e-mail and runs a free art school called Bruce High Quality Foundation University, held the opening for its fourth Brucennial show last night, a massive group show that coincides with the Whitney Biennial. The similarities, however, pretty much stop there. BHQF, along with some of their friends, crammed work by some 400 artists inside a storefront space on Bleecker. There were canvases by students that had never shown their work before hanging next to Damien Hirst and Cindy Sherman. The work was on display floor to ceiling (and they were high ceilings), but to call this “salon style” is a bit too formal: it was more like a truly fantastic garage sale. The line to get inside stretched the length of Bleecker, snaked over to Washington Square Park and left people feeling a little irritable as they stood in the street in the drizzling rain.

“It’s harder to get into than the actual Whitney Biennial,” one restless hopeful attendee said somewhere around Sullivan Street, blocks away from the entrance. Read More


At 47 Canal, Antoine Catala Looks at the Meaning of ‘Catastrophes’

From the press release for Antoine Catala's "I See Catastrophes Ahead." The show is up until March 25 at 47 Canal.

Antoine Catala’s first show at the gallery 47 Canal is called “I See Catastrophes Ahead.” It has one of those press releases that made us feel like we had to figure out what the hell was going on. The text would be staggeringly bleak, if not for the fact that certain words—instead of being written out—are illustrated with kitschy clip art that looks like it came straight out of Windows 95. Earlier this week, we stopped by the gallery and saw Mr. Catala, who presided over a messy room in the midst of installation, with wires and flat-screen televisions and mirrors strewn about the room. Read More


Charles Atlas’s Long-Awaited Show Opens at Luhring Augustine Bushwick


“I’m speechless,” said Ryan Estep, a visitor at the opening of “The Illusion of Democracy,” Charles Atlas’s show at Luhring Augustine Friday night. Mr. Estep was standing in front of Plato’s Alley, a 2008 video work by Mr. Atlas, comprised of a black and white projection of a grid of rapidly flashing numbers. The video was cast across several walls of a nook in the gallery the size of a small bedroom. An artist and art handler who works at a Chelsea gallery and lives in Bushwick, Mr. Estep was one of the first visitors to the show. He seemed mesmerized. “Things are coming toward me and receding. I’m blown away.” Read More


Le Baron of Love

Mr. A in sexier times. (Photo by Foc Kan/Wireimage)

“Whoa, what kind of line is this?” asked a homeless man briefly joining the queue outside Half Gallery on Saturday night. “Nuh-uh, not tonight. Going to have to skip this gallery.” He wandered down Forsyth Street.

The tiny space was packed with artists, collectors, and the denizens of Purple magazine for a show by the graffiti artist André Saraiva, a.k.a Mr. A, who just opened a branch of his notorious Le Baron nightclub downtown. The exhibition, titled “Love Letters,” featured drawings Mr. Saraiva had made for his girlfriend on hotel stationary, as well as French mailboxes he’d tagged with his signature smiley grin. Read More


White Light, White Noise at David Lamelas's Maccarone Opening

Jorge Chikiar and John King perform at Maccarone last week.  Photo via:

Walking through the doors of Maccarone two Tuesdays ago for the opening of Argentinian artist David Lamelas’s new show, Gallerist was suddenly blinded by a film projector running without film. After dodging out of the beam, and recovering our vision, we noticed another running behind it, casting a small square of light on the opposite wall.

Mr. Lamelas is well known for another light installation, albeit one considerably more tranquil: 1967’s Limits of Projection 1, a single cone of light projected from the ceiling in a dark room, which appeared last year at MoMA P.S.1 in Peter Eleey’s “Talent Show” exhibition. Read More