Tag Archives: Dash Snow

DASH SNOW — THE DROWNED WORLD

“Dash [Snow] and David Hammons are both artists with a witch-doctor feel to their work, which is important, because ultimately what is the value of art?… In an increasingly secular society, it’s even more important as people try to form their belief systems. If you’re not going the readymade route, then you look around for the tools available to make something of your own. That’s a big part of the artist’s job or the writer’s job…

“It’s found in the moment, not in an academic way. You find it in the practice. I think the academic and institutional part of the art world is a big problem. Artists often collaborate with them to their detriment, because they think they need the institution as a go-between, a translator for the public. Dash, like Hammons, understood that you don’t need the middleman. Cut out the middleman. Make him wait in line with everyone else. It has to be on the artist’s terms.” — Glenn O’Brien on Dash Snow*

The new exhibition THE DROWNED WORLD presents work from the late artist’s archive, including a selection of rarely seen sculptures.

DASH SNOW—THE DROWNED WORLD

Through May 12.

Participant Inc

253 East Houston Street, New York City.

*”I Don’t Believe in Masterpieces AnywayGlenn O’Brien on Dash Snow,” Ursula 2 (Spring 2019).

See Nicole Miller and David Rimanelli on Snow.

Dash Snow, from top: Mixed-media sculpture, 2000–2009; The Drowned World: Selections from the Dash Snow Archive, 2019, installation view, Participant Inc, New York, photograph by Mark Waldhauser; Untitled, 2000–2009, Polaroid (Kunle Martins (left) and Snow); Untitled (Past, Present), 2006, mixed-media sculpture; Untitled, 2007, collage; Untitled (Her Kisses Were Dangerous), 2006–2007, collage. Images © Dash Snow, courtesy of the Dash Snow Archive, New York City and Participant Inc. Special thanks to Lia Gangitano.

BEYOND THE STREETS

Dash Snow, Maripol, Guerrilla Girls, Barry McGee, Kenny Scharf, Shepard Fairey, Jenny Holzer, André Saraiva, Crash, Daze, Taki 183 , and Gordon Matta-Clark are among the artists in BEYOND THE STREETS, the “definitive showcase of graffiti and street art” at Werkartz, curated by Roger Gastman.*

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BEYOND THE STREETS, through July 6.

WERKARTZ, 1667 North Main Street, downtown Los Angeles.

beyondthestreets.com

artsy.net/beyond-the-streets

Top: Martha Cooper, Lil Crazy Legs during shoot for Wild Style, Riverside Park, NY, 1983.

Above: Paul Insect, Now We are Far Away, 2018.

Below: Martha Cooper, Keith Haring Painting Houston/Bowery Wall.

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DE MENIL DOUBLE VISION

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Dominique and John de Menil—collectors, patrons, philanthropists, civil rights leaders in Houston, supporters of human rights causes around the world, heirs to the Schlumberger oil-equipment fortune, and great-grandparents of Dash Snow—are the subject of DOUBLE VISION—THE UNERRING EYE OF ART WORLD AVATARS DOMINIQUE AND JOHN DE MENIL, by William Middleton.

This weekend at the French Institute, Middleton and writer-editor Kate Betts will discuss the book’s subjects and their Menil Collection, an art campus in Houston that includes the Dan Flavin Installation at Richmond Hall, the Rothko Chapel, and the Cy Twombly Gallery.

 

WILLIAM MIDDLETON in conversation with KATE BETTS, Monday, April 9, at 7 pm.

FIAF—LE SKYROOM, 22 East 60th Street, New York City.

fiaf.org/events/talk-middleton

menil.org/about

penguinrandomhouse.com/double-vision-by-william-middleton

Above: Anti-poverty activist and congressman Mickey Leland and Dominique de Menil, in the 1970s.

Below: Dominique de Menil in the gallery of the John Chamberlain installation for the opening of the Menil Collection, 1987. Menil Archives, The Menil Collection, Houston. Photograph © A. de Menil.

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RYAN MCGINLEY IN CONVERSATION

This weekend, join Ryan McGinley at the FOG DESIGN + ART fair, where he will join Ratio 3 gallerist Chris Perez for a morning talk.

RYAN MCGINLEY IN CONVERSATION

Saturday, January 13, at 11:30 am.

Fort Mason Festival Pavilion

2 Marina Boulevard, San Francisco.

From top:

Ryan McGinley, Facial, 1999.

Ryan McGinley, Dash & Agathe Shower, 2000.

Ryan McGinley, Kunle (Mickey Mouse), 1999.

Ryan McGinley, Self Portrait Bathroom, 2000.

All images: © Ryan McGinley and Team Gallery, New York and Los Angeles.

HERVÉ GUIBERT

CRAZY FOR VINCENT belongs in the tradition of what you might call ‘fucked-up boy art’—not verifiably straight or gay, but just devoted to ogling the hot wreck of a handsome young thing out of his mind. Vincent [Marmousez] doesn’t call himself anything whether he’s hopping into a cerebral dude’s bed or frolicking with a babe… A history of this tradition might begin with Caravaggio’s Young Sick Bacchus, that self-portrait of the artist totally wasted with his flesh tinged green, move through Anne Carson’s verse novel Autobiography of Red (1998) and Larry Clark’s entire career, before climaxing with Ryan McGinley’s shots of the late Dash Snow. Who could resist these beautiful hoodlums, even if their company turns out to be fatal?” — Charlie Fox*

 

CRAZY FOR VINCENT, by HERVÉ GUIBERT

1989, reprinted by Semiotext(e) in 2017, translation by Christine Pichini, introduction by Bruce Hainley.

semiotexte.com

frieze.com/crazy-vincent

See Ron Slate on Guibert: ronslate.com/ghost_image_essays_herv_guibert

Bottom: Hervé Guibert (1955–1991).

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