Category Archives: ART

BARBARA LONDON IN CONVERSATION

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Barbara London—author of Video Art: The First Fifty Years, and founder of the video-media program at MoMA—will discuss her curatorial practice and forthcoming traveling exhibition Seeing Sound.

See link below to register for the online talk.

CURATOR’S PERSPECTIVE—BARBARA LONDON

Independent Curators International

Tuesday, April 6.

1 pm on the West Coast, 4 pm East Coast.

From top: Barbara London, courtesy and © London and Independent Curators International; London, Video Art: The First Fifty Years (2020), cover image courtesy and © Phaidon; Yuko Mohri, You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018, installation view Childhood: Another Banana Day for the Dream-Fish, Palais de Tokyo, Paris, 2018, image © Yuko Mohri, courtesy of the artist and Project Fulfill Art Space, Mother’s Tankstation; Juan Cortés, Supralunar, 2018, custom-built mechanisms in perspex (dimensions variable), Arduino, LED lights, custom-built speakers, 4 channel sound, installation view, image © Juan Cortés, courtesy of the artist.

BERNADETTE CORPORATION — I ACCEPT

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We became aware of a space in which there was just the apex of a pyramid…. then realized over a period of years that the apex was actually one corner of a cube. Many years pass by, and we become conscious of a blob growing on the lower corner of the cube, which had been the original apex corner. As the blob grows, we realize that it’s our brain… and some years later we realize other people are there too... *

After I ACCEPT closes this week, posters may still be available.

BERNADETTE CORPORATION—I ACCEPT*

Through April 3.

Gaga

Amsterdam 123, Colonia Condesa, Mexico City.

Bernadette Corporation, I Accept, Gaga, Mexico City, February 25, 2021–April 23, 2021. Images © Bernadette Corporation, courtesy of the artists and Gaga.

LUCAS BLALOCK — FLORIDA, 1989

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Lucas Blalock was ten in 1989, when his thumb was crushed beyond repair in a freak accident on Disney World’s “Pirates of the Caribbean” ride and surgically replaced with his big toe. The procedure was somewhat experimental… but Blalock was able to maintain nearly normal use of his hand, thanks to his novel cut-and-paste digit…

As you might imagine, the psychic and physiological aftermath from the event has been ongoing. Some of this fallout was jarring, disruptive, paradigm-shifting… There is no aspect of Blalock’s work that was not shaped by this personal tragedy.*

A show of new work by Blalock is in its final weeks in New York. See link below for details.

LUCAS BLALOCK—FLORIDA, 1989*

Through April 10.

Galerie Eva Presenhuber

39 Great Jones Street, New York City.

Lucas Blalock, Florida, 1989, Galerie Eva Presenhuber, New York, February 27, 2021–April 10, 2021, from top: Vessel-Heater Frankenstein, 2020, dye sublimation print on aluminum; Animated Dad Shirt, 2020, dye sublimation print on aluminum; M_M_M_M_M (Daisychain), 2020, dye sublimation print on aluminum; Haunted Hearth (Witchcraft Advertising), 2017–2020, dye sublimation print on aluminum; Perforated Landing I, 2020, dye sublimation print on aluminum; Pool Music, 2018–2020, dye sublimation print on aluminum. Images © Lucas Blalock, courtesy of the artist and Galerie Eva Presenhuber.

HUGH STEERS — STRANGE STATE OF BEING

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There seems to be a buzz… I’m in such a strange state of being, and nothing’s ever going to be the same. — Hugh Steers (1962–1995)*

A selection of oils and works on paper completed by Steers in the late 1980s and early ’90s are on view through the end of the week in Manhattan.

HUGH STEERS—STRANGE STATE OF BEING*

Through April 3.

Alexander Gray Associates

510 West 26th Street, New York City.

Hugh Steers, Strange State of Being, Alexander Gray Associates, New York, February 18, 2021–April 3, 2021, from top: Two Men and a Woman, 1992, oil on canvas; Flag, Megaphone, 1992, oil on canvas; Hospital Bed, 1993, oil on canvas; Bandages, 1992, oil on canvas; Official Letter, 1990, oil on canvas; Sleeping Cat, 1988, oil on canvas; Gas Mask, 1992, oil on paper. Images courtesy and © the artist’s estate and Alexander Gray Associates.

LUCY MCKENZIE — NO MOTIVE

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A more collaborative and sharing practice has always been important to me as a counterbalance to the more studio-intensive things that I create on my own. It can be super lonely just making these incredibly detailed paintings. So I have always needed that balance of also doing things that have a different set of criteria, where you are not just relying on your own set of ethics or style. And I would say working closely and productively with someone from a different discipline—as is the case with Beca and me—is a brilliant experience.* Sometimes it can be complicated collaborating with another fine artist, but with design, there is just so much more flexibility and space for each person to come to the fore at different times. — Lucy McKenzie

Painting, design, installation, Madeleine Vionnet, and Zoya Kosmodemyanskaya all come together in NO MOTIVE, the new show by McKenzie now on view in New York.

LUCY MCKENZIE—NO MOTIVE

Through April 24.

Galerie Buchholz

17 East 82nd Street, New York City.

*Beca Lipscombe is McKenzie’s partner in the fashion label Atelier E.B.

Lucy McKenzie, No Motive, Galerie Buchholz, New York, March 5, 2021–April 24, 2021, from top: Leaning Mannequin (Roman Statue/ l’Orage), 2021, fiberglass, acrylic and oil paint, silk dress with gold braid, gym shoes; Metal (Alan Potter), 2021, oil on board, and Quodlibet LXX, 2021, oil on board; Unfinished Mannequin Portrait III, 2021, oil on canvas; Ethnic Composition (Moldova, Russian Ethnographic Museum), 2021, acrylic and oil on canvas; Sitting Mannequin (Greek pottery/Quatre Mouchoirs), 2021, fiberglass, acrylic and oil paint, belted silk dress, gym shoes; No Motive installation view, (left) Unfinished Mannequin Portrait II, 2021, oil on canvas, (right) Leaning Mannequin (Polychrome/l’Orage), 2021, fiberglass, acrylic and oil paint, silk dress with gold braid, gym shoes; No Motive installation view, (left) Coloured textiles (Joseph Linley), 2021, oil on board, and Quodlibet LXXII, 2021, oil on board, (right) Beige textiles (attributed to Joseph Linley), 2021, oil on board, and Quodlibet LXXI, 2021, oil on board; Unfinished Mannequin Portrait I, 2021, oil on canvas; Leaning Mannequin (Polychrome/l’Orage). Images © Lucy McKenzie, courtesy of the artist and Galerie Buchholz.