#sharon-rizzo

#sharon-rizzo

"We find beauty out of struggle and out of something broken," says the artist, emphasizing the importance of representing life in Brooklyn through the exhibit.

Drivers were delivering packages in deadly heat with no air conditioning; part-time employees, the majority of UPS' workforce, have been unable to receive benefits. Wages aren't rising at the same rate as the cost of living.

"It's a really special spot. When you start at the top and move down the gently sloped ramp, you almost feel like a marble tumbling down, looking at art as you roll by. The slight slant plays with your sense of perspective and grounding."

"We accept anything that could be used in some sort of creative way, so it's very open."

I looked up and saw him looking right at me, and I'm just glad I moved right, because moving left would have basically sent me into the centre [of the shot].

No Fun Fest returns to NYC for the first time since 2009 as No Fun New Perspectives, a three-day event featuring avant-garde and improvisational music.

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

"My paintings can be described as sculptural in nature, emphasising physical presence, weight and materiality."

Kyoung Chun's creative practice moves between painting and site-specific installation. Interactive works extend the language of painting beyond the canvas, inviting viewers into environments that challenge perception and encourage connection.

"Over the years, we would show them to different people who came to the house. And a lot of people wouldn't finish looking at them," Orce said.

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

Jasper Johns seemed to reject the tortured, in-the-moment 'I' of Abstract Expressionism, ironically commenting on the heroism and spontaneity associated with Jackson Pollock and Willem de Kooning in his early work.

"The first step towards a cure is admitting you have a problem," artist Josh Kline writes, highlighting the inequities in New York City's real estate market and its impact on art.

The Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

The Outsider Art Fair has enriched New York City's art world since its inception in 1993, presenting eclectic and idiosyncratic artists who challenge traditional fine art hierarchies.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

Mornings are best for concentrated work. In the winter, I turn on the heat at 8am and get started around 10am. Summer, I start around 9am. I have two areas in the studio for projects. The large, heavy wood sculptures are carved in the front section of the studio, closest to the roll-up wide door. Smaller sculptures are placed on a hydraulic workbench. Before I start, I focus, connect with the Source, and ask for guidance.

This sprawling installation (or in the New York gallery's parlance, "spatial collage") had transformed the Wooster Street space into a warren of rooms and hallways that resembled a series of stage or film sets, including a "clandestine drug lab," a Chinatown basement store, and a pirate radio station. I gingerly navigated through half-destroyed walls and over uneven floors strewn with detritus, escaping with vivid memories of one of the strangest contemporary art experiences to be had in those years.