SCOTT COVERT IN

RAVELIN MAGAZINE

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Under the long, obnoxious shadow that 250 South Street — the new 5,000 million story condo going up next to the Manhattan Bridge — casts on Henry street, I stopped by Situations, the brilliantly scrappy storefront gallery for a look at the Scott Covert show. Just as the gallery lies in the shadow of final-phase gentrification, Covert deals with that most permanent of shadows: death. [READ MORE]


SCOTT COVERT IN

NEW YORKER MAGAZINE

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In the zine accompanying this two-gallery show, there’s a telling photo of a minivan, its back door open to reveal stacked, rolled-up canvases. Covert, a figure of New York’s fabled downtown scene (whose work also appears in MOMA’s “Club 57” exhibition), has spent several decades creating paintings from gravestone rubbings, a technique that takes him on cross-country pilgrimages. Surprisingly, the results are anything but macabre. One glittery white work features the name and short life span of the Warhol superstar Candy Darling, floating above a rubbing of Marilyn Monroe’s grave, as if uniting the performers in Heaven. A deep-blue monochrome pairs the frenemies Joan Crawford and Bette Davis. [READ MORE]


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SCOTT COVERT IN

ARTFORUM

Death pairs well with glamour: Think of Marlene Dietrich’s prostitute-spy character in Dishonored (1931), as she applies her lipstick before meeting a firing squad; Bette Davis as terminally ill socialite Judith Traherne in Dark Victory (1939); or Divine’s punk murderess Dawn Davenport in John Waters’sFemale Trouble (1974), where the actor soliloquizes from an electric chair like a demented starlet accepting her first, and final, Oscar.

[READ MORE]


JIMMY WRIGHT IN

JIMMY WRIGHT AND JOHN CORBETT IN CONVERSATION

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Jimmy Wright in conversation with John Corbett at the book launch for Wright's Bathhouse, Meatpacking District and the Dream Cards: New York Underground 1973 - 1990.

Thursday, November 16th 2017 - 7:00pm

[READ MORE]


SCOTT COVERT IN

CLUB 57: FILM PERFORMANCE AND ART IN THE EAST VILLAGE, 1978-1983

Museum of Modern Art
11 W 53rd Street, New York, NY
October 31 - April 1

The East Village of the 1970s and 1980s continues to thrive in the global public’s imagination. Located in the basement of a Polish Church at 57 St. Marks Place, Club 57 (1978–83) began as a no-budget venue for music and film exhibitions, and quickly took pride of place in a constellation of countercultural venues in downtown New York fueled by low rents, the Reagan presidency, and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. A center of creative activity in the East Village, Club 57 is said to have influenced virtually every club that came in its wake.


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KELLY JAZVAC IN

PLASTIGLOMERATES BOOK LAUNCH

E-FLUX 311 EAST BROADWAY
October 7, 5-7PM

6PM Jazvac in conversation with Paige West, Claire Tow Professor of Anthropology, Barnard College

Kelly Jazvac Plastiglomerates published by Durable Goods, Toronto


CHUCK NANNEY IN

1107 MANHATTAN AVE PT.II

SPENCER BROWNSTONE
10 SEPTEMBER – 29 OCTOBER, 2017


DAPPER BRUCE LAFITTE IN

KINGPIN OF THE ANTPIN

NTUIT CENTER CHICAGO
OCTOBER 12-DECEMBER 10, 2017
OPENING FRIDAY OCT 13


CHUCK NANNEY IN

Selected Ambient Works, Volume II

MOCA TUCSON
17 JUNE - 1 OCTOBER 2017

Chuck Nanney will exhibit sculptural works made over the last three years, along with sound pieces, comprising a mini-retrospective of recent activity. Frequently protruding from the walls, painted vividly, and installed at various heights, the works have a Calder-like ability to playfully conflate stability and mobility. Intermixing minimalist tendencies with a distinctive rough-hewn quality, their brightness and seeming joviality are complimented and belied by a devotional quality that speaks eloquently of survival. Sound pieces composed of cut-up poetry and experimental pulsing pop melded with airy drones will accompany the visual display. 


THE DAPPER BRUCE LAFITTE IN

NEW HORIZONS:
SELF-TAUGHT ART IN THE 21ST CENTURY

SHUFORD GALLERY
September 23, 2017 – January 7, 2018


THE DAPPER BRUCE LAFITTE IN

R.I.P. Bruce A. Davenport, Jr. | Artwork by Dapper Bruce Lafitte

ARTHUR ROGER GALLERY
August 5 – September 23, 2017

 


DAPPER BRUCE LAFITTE IN

ARTISTS STUDIOS

APRIL 22, 2017

 


DAPPER BRUCE LAFITTE IN

HYPERALLERGIC

APRIL 21, 2017

Drawing on Firsthand Experience to Depict the Horrors of Hurricane Katrina: Dapper Bruce Lafitte’s work records a singular personal trajectory in a grander, historically significant moment. [READ MORE]


DAPPER BRUCE LAFITTE IN

HARPERS

APRIL 2017


CRISTINE BRACHE IN

THE EDITORIAL MAGAZINE

MARCH 6, 2017

Cristine Brache’s new show I Love Me, I Love Me Not, uses sculpture and video as self-portraiture to confront a complicated relationship to the self, identity and history. As a child of immigrant parents from both Cuba and Puerto Rico, Brache describes her experience as a type of “cultural amnesia.” [READ MORE] 


JIMMY WRIGHT IN

ARTREVIEW

MARCH 2017
Ashton Cooper

For those of you looking to assuage the woes of shuttering gay bars and queer assimilation, Jimmy Wirght’s 11 glowing drawings at Fierman are something of a salve. Made between 1974 and 1976, they capture the then-thirty-year-old artist’s firsthand experiences of pre-AIDS New York nightlife at Club 82, the Anvil, Club Baths and Max’s Kansas City, among others. [READ MORE]


CRISTINE BRACHE IN

THE NEW YORKER

MARCH 6, 2017

In this deceptively demure show, the Toronto-based artist reflects on her identity as the Miami-born daughter of parents from Cuba and Puerto Rico, and finds it full of contradictions. A video begins with found fetish porn in which a woman eats insects and ends with Brache’s grandfather telling her that a woman without makeup is like a beautiful house whose garden has gone to waste. Delicate ceramic works—a dunce cap on a stool, a wall clock with no hands—evoke fragility. A curly-maple table displays porcelain playing cards, each one a Queen of Hearts featuring the artist’s profile.


KATHE BURKHART IN

FAST FORWARD: PAINTING FROM THE 1980S

JAN 27–MAY 14, 2017
WHITNEY MUSEUM OF AMERICAN ART

Fast Forward: Painting from the 1980s presents a focused look at painting from this decade with works drawn entirely from the Museum’s collection. 
[LEARN MORE]


JIMMY WRIGHT IN

ARTFORUM
FEBRUARY 2017

Johanna Fateman

Painter Jimmy Wright’s “New York Underground,” a collection of voluptuous, ebullient, and funny works on paper between 1974 and 1976, felt especially appropriate to the charming, bare-bones venue, as his casually explicit depictions of gay nightlife—cruising, public sex, and socializing in clubs, bathrooms, and bathhouses, speak to a bygone era of downtown subculture. “This is the world of the Weimar Republic,” the artist has said of the post-Stonewall, preAIDS moment he represents here. “Too rich visually not to record.” [READ MORE - PDF]


MATTHEW KIRK AT

FOUR A.M.

JANUARY 4 - 17, 2017
291 Grand Street in NYC


JIMMY WRIGHT IN

FILTHY DREAMS

Wright’s drawings wove sordid tales of nights at bathhouses, sex clubs and famous Downtown art hangouts. Wright takes viewers on a Crisco-drenched trip through the Anvil, dancing at Club 82 and people watching at Max’s Kansas City. [READ MORE]


JIMMY WRIGHT IN

ARTCRITICAL

Never trust a man who paints nothing but flowers: something else is going on, either in secret, in his past, or perhaps indeed hiding in plain sight in those beautiful damned flowers! With Jimmy Wright one wouldn’t be surprised if it turns out to be all three. [READ MORE]


KIRSTY ROBERTSON IN 

E-FLUX
Journal #78 - December 2016

Kelly Jazvac
Plastiglomerate

In 2012, geologist Patricia Corcoran and sculptor Kelly Jazvac travelled to Kamilo Beach, following a tip from oceanographer Charles Moore that the beach was covered in a plastic-sand conglomerate. Moore suspected nearby volcanoes were to blame. In fact, the plastic and beach detritus had been combined into a single substance by bonfires. Human action on the beach had created what Corcoran and Jazvac named “plastiglomerate,” a sand-and-plastic conglomerate.  [READ MORE]


JIMMY WRIGHT IN 

OLYMPIA
Carte Blanche to Karma

KARMA - Galerie Patrick Seguin
Paris, from Oct. 17 to Nov. 26, 2016
5 rue des Taillandiers F-75011 | Paris 

This exhibition is the latest in a series of annual shows at Galerie Patrick Seguin entitled Carte Blanche, for which international galleries are invited to organize exhibitions. The exhibition features works from 53 artists, including Rita Ackermann, Tauba Auerbach, Nathaniel Axel, Will Boone, Carol Bove, Joe Bradley, Mathew Cerletty, Matt Connors, William Copley, William Crawford, Robert Crumb, John Currin, Jay DeFeo, Carroll Dunham, Mark Grotjahn, Wade Guyton, Peter Halley, Nolan Hendrickson, Dorothy Iannone, Ray Johnson, Allen Jones, Martin Kippenberger, Aidan Koch, Mike Kuchar, Lee Lozano, Sara Lucas, Calvin Marcus, Jackson Mac Low, Jimm Nutt, Steven Parrino, Nicolas Party, Pablo Picasso, Sigmar Polke, Ken Price, Seth Price, Walter Price, Richard Prince, Christina Ramberg, Ed Ruscha, Borna Sammak, Joan Semmel, Spencer Sweeney, Tom of Finland, Torey Thornton, Jamian Juliano-Villani, Andy Warhol, Andro Wekua, Michael Williams, Stanley Whitney, Jimmy Wright, Duane Zaloudek.