Because we are all exceptionally lucky human beings, horror master R.L. Stine is writing a new set of Fear Street books. Bob and his editor Kat will be at McNally Jackson the night before Halloween to discuss Fear Street, his career, and ventriloquist dummies (we assume), among other things.
One of our favorites, Kent Fine Art opens it’s fall season with FLEX, curated by Orlando Tirado. The exhibition explores shape, mass, and form of the body in relation to an emerging queer, transgender, renegade post-minimalist strategy that strips the body of its flesh, framework, and constraints.
We, The Outsiders brings together works by an international quartet of artists, and will be on view through October 31. It’s an art exhibition that explores several perplexing questions: “Can it be said that art has a consciousness of its own? And if such a consciousness were independent of us, where would it place us in relation to itself?” The exhibition revolves around a gigantic egg—which probes, like the classic chicken-and-the-egg conundrum where consciousness begins and ends when it comes to art.
We laughed at her face with its countless surgeries. But mostly we laughed at her wild and wonderful humor. This courageous woman stopped at nothing to have us convulsing with laughter.She was never concerned about being judged as corny, ridiculous, sacrilegious, inappropriate, insulting and even disgusting and repulsive. Yes, she faced all this derision, but kept on delivering the goods. It was never the audience's judgment that concerned her. All she wanted to do was make us laugh. And that she did!
KITEYA is known for featuring items that demonstrate the craftsmanship, aesthetic, and artistry of both traditional and modern Japanese culture. Their latest exhibit, featuring the calligraphy works of Yasuko Kuboyama, is no exception. Born in Fukuoka, Japan, Ms. Kuboyama has made a name for herself with her bold, creative calligraphy and large-scale works. The exhibit (September 28 - October 27) will kick off with a special reception on October 1st at 5pm, featuring a raffle, a calligraphy performance by Yasuko Kuboyama, and refreshments by Sennari, Sanseido Honpo, and Ureshi no Cha.
Over the past three years a small community of introspective frontier feminists have been gathering on intensive retreats to discuss and dissect the tenets of what it means to be a modern feminist. Presented by The Hole, “Future Feminism” is an exhibition collectively realized by Antony, Kembra Pfahler, Johanna Constantine, Bianca Casady and Sierra Casady. It realizes their reflective journeys into 13 tenets, articulating their meditations on modern feminist thinking. (Running September 11—27, 2014)
On exhibition through September 6, “Iowa, Ohio,” by Scott Daniel Elliso coincides with the release of the artist’s first monograph of the same name. The works, idiosyncratic photographs and paintings, imagine macabre vignettes inspired in equal parts by Scandinavian folklore, obscure horror films, and childhood fears and preoccupations.
The "Karaoke Play" opening on August 29th, is a piece about pop music, love and apathy. Three characters in a karaoke room rail against the world, and mourn the big, bold, important lives they were supposed to live, drowning their sorrows in booze, song, sex and cigarettes.
Out of approximately five hundred submissions from talented, unaffiliated artists in all the boroughs, Denise Bibro Fine Art narrowed the pool to eighty artists. Subsequently, they pounded the pavement and visited studios in Williamsburg, by the water in Redhook, the old Army Terminal in Gowanus, Bedford-Stuyvesant, Long Island City, Harlem, Inwood, and the Lower East Side (just to name a few), and finally selected fifty three artists. These fifty-plus artists’ works are diverse in mediums, aesthetics, and content.
An exhibition of new work by Elizabeth Glaessner, the artist’s first solo exhibition in New York City is on view through August 15th at the PPOW Gallery. Glaessner’s paintings take elements from traditional history painting and re-contextualize them in a distinctly intimate and otherworldly voice. An exploration of memory, personal history and ritual, Glaessner’s work questions the way in which we relate to and envision our past. Her most recent paintings depict a highly detailed mythology of post-human existence on earth that features anthropomorphic, gelatinous figures in familiar, yet toxic, landscapes.