One more side effect of North Brooklyn’s rapidly mutating scene is the ramping up of “I was here when…” memories, which are arriving in shorter and tighter cycles. This means that the new, old neighborhoods are now garnering nostalgia with stories from recent history. And, photographs are a trusted way to collect these stories—”Take a picture. It will last longer.”
Two photography exhibitions on view now, Mara Catalán’s “A Place I Once Called Home: Williamsburg” at Picture Farm Productions & Sara Maria Salamone’s “From Ash To Apollo” at GCA Salon, appropriately locate and illustrate newer recollections of these moments. Continue reading →
Greenpoint sits fine with no longer being Brooklyn’s “it” spot, and Bill Hayden’s show at Real Fine Arts seems okay with this, too—perhaps even celebrating the area’s confounding mix of shop and gallery. This particular installation is as comfortable with its sense of fleeting zeitgeist as Greenpoint is with watching the torch pass from Williamsburg to Bushwick as the hip mecca of the moment. Continue reading →
With an influx of second wave of blockbuster artists ( M. D. Jackson and the like ) on the heels of first wave young hip artists, it’s easy to forget that there have been local people making work in the neighborhood since well before the first plaid clad types ventured in to a then “scary” area.
Eleanor Curran grew up in Greenpoint “when there was only one Chinese restaurant.” The lively Mrs. Curran grew up on Eckford St before moving to a house on Leonard St that still connected with her Dad’s old house.
“There was always the question of whether I lived in his backyard, or he in mine!” Continue reading →
Special is the new video by Brooklyn based musical group Doom Trumpet. After a video release at Happy Fun Hideaway in Bushwick, Greenpointers hosted a Q and A with the band and the video’s director Lauren Silberman about the mesmerizing song and film.
GP: What is Doom Trumpet exactly? Would you call it a band? A project?
Lauren: I’ll leave this one to David.
David: Doom Trumpet revolves around writing and playing music together. Equally important are the scenarios and connections we create with and for our sounds. We make music videos, design stage-sets in which to perform, craft USB sculptures, hand-dye band t-shirts, and sometimes we have band yoga sessions.
GP: Your new video, Special, begins with a group walking from the ocean and retains this sense of eeriness throughout. Was this important or might a viewer just be overinfluenced by the Halloween season? Continue reading →
Greenpoint based artist Kate Nielsen bases much of her work on “survival tips” in the wild. As the sole individual successfully selling artwork on Amazon, she is also an example of a new type of artist’s preservation. Greenpointers had a chance to talk with the survivor on the eve of her inclusion in Calico Gallery’s Crowd Control. Continue reading →
Summer shows are the brunch of the New York art year – leftovers put together by someone else on the cooking line. Not that guest curators haven’t been putting on interesting and imaginative shows with available collections year after year while the regularly scheduled shows take “off”.
In fact the reputation of the mice playing in the gallery while the cats are away in the Hamptons has allowed for looser and wilier events than the marquee fall, winter, and spring shows. But the idea that a summer exhibition is not one of a gallery’s more serious offerings still lingers – in Manhattan. Continue reading →
It was nothing like the cowboy-dress, sepia novelties of every town tourist traps. Having my collodian portrait taken at Heliopolis gallery by inherent photographer Eric Lee Bowman felt (and was) more like a real, happening tradition. The week of signup volunteer shots was an active extension of his too brief cynanotype print and glass plate figure show at the Huron space. Continue reading →
Those who view the recent return of drawing to front room popularity as a sign of economic pragmatism should stop by Cleopatra’s. A gallery more often associated with performative installation is now showing charcoals and inks by Polish artist Leszek Knaflawski (aka Knaf) in an appropriate display of inverted landscapes.
Knaf is part of the Polish collective Kolo Klipsa who refers to their drawings as diagrams to the groups “entireties.” If the entire here means a larger body of multimedia, sculptural, and performance work, then the work in this show stand as life rafts in a sea of oeuvre. The theme is the floating ground and it’s containment in a small drawn space. Dissolving rats swallow sailboats (still on the ocean’s horizon), landscapes prolapse, and a house (the tease of stability) is only mildly complaisant when fused to the back of a happy cat. The inks might be mistaken, lazily, for Ray Pettibons, but the folk style of the rest cannot be denied their charm.
This is a show that well exploits the return to diagrams within entireties, of drawing within alternative space, and Polish thinking within a Polish neighborhood.
If you ever do leave Greenpoint, check out Greenpoint artist Gabriela Salazar’s public projectFor Closure(Outdoors, the Bronx), freshly installed at the Bronx’s West Farms Sq train station on East Tremont ave. A towering stack of cards made from locally found doors, For Closure illustrates current and ongoing fragility in security and housing while fitting in surprisingly well with its local surroundings. The sheer prefab modularity of the work might have most passerby thinking it a relic of local sixties or seventies urban landscape design.
Monumental and ambitious, Salazar’s new construction furthers a body of work that questions the faith and assumption of architectural structure and support. The Greenpointer was able to talk with Salazar about her last project for The Build Up at Greenpoint’s own Fowler Art’s Collective.
The Specifics of Gabriela Salazar
With the infamous white cube dissolving into the narrative of the real world, artists and exhibitors are exploiting the dialogue found between lively work and worldly surroundings. It was modernism that insisted on hermetic environments. Art today is less autonomous than it has been in over a hundred years and the fresh air continues to invigorate post-profane practices. Continue reading →