More Weight (April 26 – June 22, 2014) was Sam Moyer’s first solo exhibition at Rachel Uffner’s new Lower East Side location, her third with the gallery after receiving her MFA from Yale (2007). Works were divided between three rooms. … Read More
Every suburb is defined by its city. At least, that’s what my southern California suburban experience was defined by, the glowing metropolis over the hills, alluring and enigmatic as Faye Dunaway in “Chinatown.” Los Angeles tells the story of itself … Read More
When I’m trying to be cool talking about my intersession I tell people I was visiting friends who are doing a gap year in the Capitol (which is technically true), but mostly I was hanging out with my aunt and going to art galleries.
As we approach Spring semester I wanted to take a moment and respond to “The Arts in Transition,” an article by Andrew Sondern that ran in the Nassau Weekly last term.
Douglas Coupland’s exhibit in the Vancouver Art Gallery this summer was called “everywhere is anywhere is anything is everything,” and from the instant I saw the title, before I even set foot in the museum, I was not feeling it. The all-lowercase aesthetic felt, to me, like an appropriation by a pretty square art gallery and a not-young man of a look that coded for “youth” and “hipness.”
As I sat in the darkness of the Black Box theater, the words of Maude, Julianne Moore’s character in The Big Lebowski, echoed through my head. I did not know what to expect from these mysterious Vagina Monologues. As a man, I was prepared to be confronted, prepared to be unwelcome
Eight years ago street artist Banksy disguised himself, entered the British Museum, and put a piece of his own work up on a wall. It was a slab of concrete, on which he had painted a cave figure drawing of a man with a shopping cart. Banksy even added an object label reading that this cave drawing pictured “early man venturing towards the out-of-town hunting grounds,” and was created by artist “Banksymus Maximus.”
