The 21st Precinct police building, on East 22nd St in New York City, is a long-defunct building targeted for demolition. But before it gets the wrecking ball, it is the temporary home of a plethora of great wall art, curated by Robert Aloia. Brooklyn Street Art has the story behind the exhibit as well as a good documentation of images, so I won’t merely repost anything that you can see there. But I went to the opening this weekend (it is up for one more week) and here are some shots from that. It was hot, crowded, and claustrophobic, but as they wrote at BSA, there aren’t too many things like this in Manhattan. As Gothamist put it, it was “four floors of dope.”
Category Archives: events
Where did the last two weeks go?
Oh yeah – now I remember. I was in Austria, along with Matthew Diffee and Paul Noth. We were asked to come host a symposium in Wels with a bunch of other very talented cartoonists from Austria and Germany, and so we did, after one of us was – ahem – detained by the Swiss police over passport issues.
On the way there, we did our Fisticuffs! show in Linz, Austria, as part of the Next Comic Festival at the university.
And although the battle was fierce, we all lived. (Which is true, but we also suffered head wounds from getting kicked by a large cartoon boot).
So we moved on to our symposium in Wels. It was an honor, but also somewhat intimidating, to be “teaching” to people who were pretty accomplished in their own right.
Luckily, there was no awkwardness whatsoever. I think we all appreciated everybody else’s talents and it became a big, goofy hangout session, which I thoroughly enjoyed. However, we had the theatre at the Medien Kultur Haus booked click here to finish reading this post
I went to the South by Southwest music festival in Austin, TX last week. My expert analysis is that it was a blast (you can probably go elsewhere for longer and better writing about the event). I saw a ton of great music, some of which I captured on my now-long-defunct-but-still-working Flip camera. A lot of the good moments never made it to video: Lucius at the Paste day party, St. Vincent’s suddenly electric stage show, two guys somehow colliding and then hugging while crowd surfing at Grackle, an out-of-town after-hours party DJed by Matthew Dear blanketed in dry ice, all the shows that I missed. Still, here’s a little collection of nuggets – 17 nuggets, to be exact – of some of the shows I enjoyed the most. If you don’t know these artists, you should.
There’s nothing really scientific about it, except I put the stuff I liked most of all towards the beginning. So that’s something. Enjoy!
By the way, if you want to see some of the silly thumbs up/thumbs down video reviews I did at a previous SXSW that the New Yorker actually let us post online, it’s here, and here and a special bonus here.
I went to Art Basel Miami Beach for the first time last week. It was definitely fun to get an eyeful of the Warhols and Picassos that you’ll probably never see otherwise, because they’re essentially moving from one private collection to another. But, since I’m not really in the market to buy a $20M Jeff Koons, I was less interested in that big convention center hoopla (I did an “intentionally poorly taken iPhone photo” review of that exhibit over at Curator Magazine). Luckily, there are tons of other things going on during Basel, and there’s something for everybody, even in loo options, as evidenced by these:
Also during Basel week there are incredible art fairs showcasing lots of other up-and-coming artists, one-off installations like FAILE & Bast’s vintage video game arcade, memorable parties like this one, and the orgy of street art going on in the Wynwood area.
I’m guessing that Wynwood has the highest concentration of street art in the country – even more than Brooklyn – and click here to continue
I just got back from attending the South by Southwest music festival in Austin, TX once again. My feet are swollen, my ears are ringing, and my stomach just said “go ahead – I dare you to eat another pulled pork taco.” And I want to go back to sleep. But it was all worth it. I got to see long-established artists who I had never seen before (Nick Cave, Kelly Hogan), buzzy up-and-comers who were worth the hype (Rhye, Savages), and I also got to stumble onto previously unheard-of acts that were satisfying (San Cisco, Heliotropes). It’s all about trade-offs. Yeah, I missed a shot to go see Prince and A Tribe Called Quest, but in that time I scurried around to see nine bands at six different venues, and when do you ever get to do that?
For a music fan it’s an embarrassment of riches, really. It’s almost like you don’t even need a guide. You just think of a band you like that put out
a record in the last year or two and voila! there they are, playing two blocks away. You only have to fight your way through all the “Free Hugs”and the sidewalk drummers and DJ Babychino, supposedly “the world’s youngest DJ” and the DJ who additionally sounds like a fancy coffee drink.
Anyhow, with two thousand bands performing it does become a challenge to figure out who you want to see, and it’s even more of a challenge to figure out who you did see. So I made this list to help me remember.
I also took some video, since the Flip camera hasn’t given out on me yet, and put together my own little highlight reel from this year’s experience, below. It’s best viewed eating a pulled pork taco and drinking a Shiner Bock.
The funniest thing I read all year was a description of a piece of art at the Whitney Biennial that I saw this week. I don’t think it was intended that way.
The piece of art in question was Cameron Crawford’s Sick Sic Six Sic ((Not)Moving): Seagullsssssssssssssssssssssssssss:
You could describe it as maybe a minimalist volleyball net, made of thread and plastic and framed by unfinished wood, but titled like a prog rock song from the 1970s. Are we still giving things titles like this? Is he channeling Fiona Apple? Did his keyboard get stuck? The blurb accompanying the work did not answer these questions. Luckily the description is online at the Whitney’s web site:
Oh. Let me see if I’ve got the stages right: Denial, Anger, Bargaining, Depression, Using Homophones, Exhibiting at the Whitney Biennial. Homophones are nonsensical and fun, but an art museum can’t say they’re nonsensical and fun, so they say they “skirt the edge of comprehension.”
More significantly, this annotation weakens the piece, because it lets you know that the work needs “explaining” in order to be understood. It tells you that it’s supposed to be a performance, not a sculpture. It’s a response to death. The writing does the work that the art should have done. Come on – let the thing fail on its own terms!
This is a genius spin. next year I’m submitting an “invisible painting in an invisible frame” – that way it will always be relevant to any theme!
Another hilarious move! I wish, though, that the artist would have fully committed to the gag, a la Dali or Duchamp, and not let the work be displayed or reviewed until always six years in the future. Then it would seem more like a real idea and a lot less like a bullshit one, right?
There you go! “By imposing this ridiculous date and title, Crawford is suggesting that the work possibly has no good ideas in it. We agreed, which is why we included it in this exhibit. Now it at least appears to have some kind of meaning.”