hyperallergic: 10 Underrated Artists From BrooklynEditor’s Note: We asked critic Howard Hurst to provide us with 10 Brooklyn artists he considers underrated. Here is his selection. Ok, so it’s the middle of August. The art world has, as per usual, largely checked out for the month. What this means is that there are tons of smaller projects that get to claim part of the spotlight. While Chelsea may be asleep, I’ve always find that the end of the summer presents itself as a golden nugget of opportunity for lesser known artists and curators to take over unoccupied gallery spaces, and to garner publicity usually hogged by larger commercial galleries. In this spirit, and to help pass the hot summer hours, here is a list of my top 10 under rated Brooklyn artists presented in no particular order…. READ MORE.

hyperallergic:

10 Underrated Artists From Brooklyn

Editor’s Note: We asked critic Howard Hurst to provide us with 10 Brooklyn artists he considers underrated. Here is his selection.

Ok, so it’s the middle of August. The art world has, as per usual, largely checked out for the month. What this means is that there are tons of smaller projects that get to claim part of the spotlight. While Chelsea may be asleep, I’ve always find that the end of the summer presents itself as a golden nugget of opportunity for lesser known artists and curators to take over unoccupied gallery spaces, and to garner publicity usually hogged by larger commercial galleries. In this spirit, and to help pass the hot summer hours, here is a list of my top 10 under rated Brooklyn artists presented in no particular order…. READ MORE.

hyperallergic: A roundup of our latest posts on this week’s art fairsArmory - Hrag Vartanian offers a photo essays: Going Contemporary at the Armory and 20th C Moderne at the ArmoryThe Art Show - Lynn Maliszewski asks Is The Art Show a Senior Citizen’s Swinger’s Club Past its Prime?Independent - Kyle Chayka has a photo essay on the ArtForum crowd: Any Place and No Place at Independent 2011Pulse - Hrag Vartanian interviews fair-goers in Who Goes to NY Art Fairs? Emerging Collectors at Pulse - Kyle Chayka’s photo essay is Trendspotting at Pulse 2011Scope - Stephen Truax finds that Bushwick Brought the Party to NY’s 2011 Scope FairVolta - Stephen Truax is Feeling Civilized at the 2011 Volta Art Fair

hyperallergic:

A roundup of our latest posts on this week’s art fairs

Armory
- Hrag Vartanian offers a photo essays: Going Contemporary at the Armory and 20th C Moderne at the Armory

The Art Show
- Lynn Maliszewski asks Is The Art Show a Senior Citizen’s Swinger’s Club Past its Prime?

Independent
- Kyle Chayka has a photo essay on the ArtForum crowd: Any Place and No Place at Independent 2011

Pulse
- Hrag Vartanian interviews fair-goers in Who Goes to NY Art Fairs? Emerging Collectors at Pulse
- Kyle Chayka’s photo essay is Trendspotting at Pulse 2011

Scope
- Stephen Truax finds that Bushwick Brought the Party to NY’s 2011 Scope Fair

Volta
- Stephen Truax is Feeling Civilized at the 2011 Volta Art Fair

hyperallergic: Felix Gonzalez-Torres, “Untitled (Perfect Lovers)” (1991) I find Felix Gonzalez-Torres to be such a wonderfully sad, romantic figure, both in the sweet, lovey-dovey sense of the word “romantic” but also in the over-the-top epic sense of the word. His partner Ross Laycock was both a major source of inspiration and his intended audience (as he said in an interview). This work was created shortly after Ross’s diagnosis of AIDS. The two battery-operated clocks are to be set in unison, but they will eventually, inevitably fall out of sync with one another. The clocks’ continued ticking serves as a metaphor for both the eternalness of love and the impossibility of such a thing. The lovers might measure their lives in the same manner, but the tricks of time will unbalance them. One of my very good friends has re-staged this work in her home, and the clocks are now horribly out of sync. For a period, the hands of one clock stopped rotating but continued to tick, nearly in unison with its lover, and eventually began rotating again. The discordant but steady rhythms added to the complexity of the metaphor, reminding me of the ways one and their love can change, with and without each other.

hyperallergic:

Felix Gonzalez-Torres, “Untitled (Perfect Lovers)” (1991)

I find Felix Gonzalez-Torres to be such a wonderfully sad, romantic figure, both in the sweet, lovey-dovey sense of the word “romantic” but also in the over-the-top epic sense of the word. His partner Ross Laycock was both a major source of inspiration and his intended audience (as he said in an interview). This work was created shortly after Ross’s diagnosis of AIDS.

The two battery-operated clocks are to be set in unison, but they will eventually, inevitably fall out of sync with one another. The clocks’ continued ticking serves as a metaphor for both the eternalness of love and the impossibility of such a thing. The lovers might measure their lives in the same manner, but the tricks of time will unbalance them.

One of my very good friends has re-staged this work in her home, and the clocks are now horribly out of sync. For a period, the hands of one clock stopped rotating but continued to tick, nearly in unison with its lover, and eventually began rotating again. The discordant but steady rhythms added to the complexity of the metaphor, reminding me of the ways one and their love can change, with and without each other.

Hyperallergic makes an appearance on William Powhida’s latest piece about the art world — landing on common (vs elitist) and a little more institutional than commercial. powhida: A Provisional Graph of Art World Success Relative to Ed Ruscha for the exhibition If These Walls Could Talk - A conversation at Marine Gallery and Charlie James Gallery in LA.  30” x 44”, Watercolor, graphite, and colored pencil on paper.  2011. 

Hyperallergic makes an appearance on William Powhida’s latest piece about the art world — landing on common (vs elitist) and a little more institutional than commercial.

powhida:

A Provisional Graph of Art World Success Relative to Ed Ruscha for the exhibition If These Walls Could Talk - A conversation at Marine Gallery and Charlie James Gallery in LA.  30” x 44”, Watercolor, graphite, and colored pencil on paper.  2011.