If P.S. 1s show of Lee Lozanos work from 1961-1971 would have seemed crass, elitist, and in bad taste three years ago, the recent revival of Philip Gustons late paintings spare Lozano from such a reading now. And, if Drawn From Lifes radicalism and ballsy fuck-off attitude dont inspire similar rah rahs from the critical establishment, it has got to be at least insinuated that it is either because she did not legitimize herself enough by previously working in a "high" method associated with emphasis on technique (AbEx namely), or merely because shes a woman.
We meet the Kabakovs on a cold February day in their installation The Empty Museum inside the Sculpture Center in Long Island City. It is a large room that looks like a classic nineteenth-century European museum gallery. The spotlights on the wall show there are no paintings being exhibited.
Julianne Swartz uses light, motion, reflection, sound, and ambience as sculpture to take the ordinary and mundane and bump it up into the extraordinary and profound. She employs utilitarian and commonplace objects like conduits and condensers, mirrors, tubes, fiber optics, and lenses, and transforms matter that has no palpability or physical presence and gives it sculptural form. She works at the most delicate of intersections, where the fulcrum point of what is solid meets what is not.
At 3:45 in the afternoon on Thursday, January 22, one of the most celebrated dogs in the Williamsburg art scene passed away. Berry was an important figure at Pierogi gallery since the day, almost 12 years ago, when Pierogi owner Joe Amrhein found a lonely Berry wandering Berry Street, thus the name.