Good Art I Saw in November
I was a combination of incredibly busy and too lazy to write about these individually, so here is a summary of the amazing art I saw this month:
Yale Art Museum (New Haven, CT)
This (completely free!) gallery has room after room filled with Picassos, Pollocks, DeKoonings, Kandinskys, Rothkos…the list goes on and on. I got art brain fatigue after the modern gallery alone and couldn’t even make it to the other floors. (A return trip is definitely in order). They also had an impressive ceramic exhibit tastefully worked into their regular collection and I enjoyed some of the pieces.
Of Gentle Birth at Repair the World through Dec 20
A collaborative show of 11 Brooklyn artists responding to the ongoing gentrification of Crown Heights, Bed-Stuy, and Lefferts Gardens. Sooooo good!
Juan Sanchez: What’s the Meaning of This? at BRIC through Dec 27
A phenomenal solo exhibit showcasing the work of an important artist and activists. I also got to hear him speak, which was a phenomenal experience.
Stephen Powers: Coney Island Is Still Dreamland (To a Seagull) at Brooklyn Museum through March 13
Towers of typography, gorgeous handlettering, and a sea of words words words — all inspired by the idea of Brooklyn’s iconic playground. The work is simultaneously brash and intimate, inundating and isolating (much like the place that inspired the work). You could stand and stare for hours and not begin to take it in.
Performance: HARD WORK #2 at Skowhegan NYC Space
I feel deeply underqualified to write about performance art, so let me try to paint you a picture: it started with a man wearing a giant fake horse head walking up to a drum set and beginning to play. I kind of don’t know how to write about the rest. (I’m new at this.)
The first piece (by Becky Sellinger) was kind of what I picture when I think of performance art; multiple performers moving around the space, some briefly interacting with the audience, others seemingly oblivious of us — all while the drummer tapped away under his towering horse head. Some of the performers chomped on apples into their mics from time to time in between the singel verse of poetry being recited over and over (with nuanced changes).
The second performance (by Zachary Fabri) seemed to push the boundaries of traditional performance; the audience was not forced to interact, but rather compelled to do so as the action moved through (and in and out of) the physical space. Performance was almost immediately transcended as participation (and, by extension, interaction) became a necessity.
(Sorry–I didn’t get any pics, which I deeply regret. I wish I could show you the horse-headed hipster playing jazz drums).