Uncategorized, visual art

Mari Quinonero Opens Today at Voltz Clarke


Reception March 5, 6-8 PM. 141 East 62nd Street, Fl 2. New York, NY 10065

info@voltzclarke.com 212-933-0291

Uncategorized, visual art

combien du temp



The Journal Gallery exhibits “Infinity Mirror,” a solo exhibition by Michael Stipe, organized by Clarissa Dalrymple.

“Infinity Mirror” stems from the contents of Stipe’s recent publication, Volume One, and further expands on his use of photo-based practices to explore the 1970’s as a formative decade through its cultural impact on his coming of age, and subsequently, the manner in which its influence informed the creative work he went on to create, both privately and as a public figure.

The exhibition presents a selection of photographic material, ranging from images made by Stipe, to historical ephemera he continues to collect and alter, or use as source material that informs his own use of the camera. These found and made materials remain in an ongoing and ever-shifting relationship within Stipe’s practice, blurring understandings of time and authorship.

In the gallery, four distinct bodies of work are positioned as facets of the piece Infinity Mirror, 2018. Situated in the center of the space, this work functions as a lexicon of sorts. It is comprised of ten identical brass shelving units by the iconic 1970s designer Milo Baughman, which Stipe has aligned edge to edge, creating an object of unusual volume and density, appearing as a multiplying projection of itself. The sculpture displays an eclectic collection of both personal and historical ephemera, including keepsakes and materials that Stipe encountered firsthand as a teenager.


Uncategorized, visual art

Hot Topic

“so many rules and so much opinion / so much bullshit but we won’t give in” — Julie Ruin


Starting tomorrow, MoMA PS1 presents Yayoi Kusama’s (Japan, b. 1929) site-specific installation of Narcissus Garden (1966–present) as the third iteration of Rockaway!, a free public art festival presented with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks Conservancy, National Park Service, and Bloomberg Philanthropies. Narcissus Garden will be on view from July 1 through September 3, 2018 at the Gateway National Recreation Area at Fort Tilden.

Comprised of 1,500 mirrored stainless steel spheres, Narcissus Garden will be on view in a former train garage from the time when Fort Tilden was an active U.S. military base. The mirrored metal surfaces will reflect the industrial surroundings of the now-abandoned building, drawing attention to Fort Tilden’s history as well as the devastating damage inflicted on many buildings in the area by Hurricane Sandy in 2012.

Rockaway! 2018 is presented by MoMA PS1 with Rockaway Artists Alliance, Jamaica Bay-Rockaway Parks Conservancy, National Park Service, and Bloomberg Philanthropies.

Uncategorized, visual art

Get Love

By Noel Hartman

There’s something both subtle and overt about the newest work from perfomative sculptor Cat Chow, on display now until March 30th at “I Love You Bedford” in Williamsburg. For instance, “Passive/Aggressive,” the elegant arm’s length “gloves” linked together from strands of wire and chain over porcelain found-object hands into a webbing that barely conceals the arm yet calls conspicuous attention to only one very impolite finger.


Installation View, “shoe me the dove right meow” at I Love You Bedford

This is the kind of provocation in which Chow specializes, mixing noirish sexuality and refinement with a vulgar gesture of defiance. Chow, whose residency — “9 Lives” — will be on display next year at Philadelphia’s Fabric Workshop and Museum, offers us a pinch of seduction with a wallop of satire. That’s the central tension in her work, and it’s very much in keeping with the Dada spirit that inspires Chow, whose work is also on display in the permanent collection at the Metropolitan Museum of Art. Found objects spring to life in a kind of militarized feminine form with her dress, which is also currently on display at “I Love You Bedford.”


passive/aggressive series 2016 Porcelain, wire, chain

The dadaists, whose hundredth anniversary is being celebrated around the world this year, strove to attain a state of creative detachment that re-conceived the very idea of art and even pursued modes of anti-art in their revolt against bourgeois society. With its chain-mail vest made of brass and skirt of venetian blinds, Chow’s “Dada” reassembles found objects and offers testimony to Dada as the biggest influence on the development of modern art in the 20th century.

Chow’s reckoning with Dada also comes out in her “Exquisite Corpse,” which looks like a kind of transparent glass hope chest containing a pile of crushed bird feathers, the hands of discarded mannequins and a heart-shaped pillow with enough heavy embroidery to remind one of what a burden love is.


Chemise 1999 Plastic, brass

Chow’s mathematical, minimalist aesthetic has made her a favorite of collectors for more than twenty years, often because her subtly subversive humor appeals to the thinking side of one’s fashion sense. 

One added benefit of the current exhibition — entitled “shoe me the dove right meow” — is that it also functions as a kind of career retrospective and features many significant works by Chow, such as the iconic “Not for Sale,” a slinky, form-fitting evening gown woven from a thousand shredded dollar bills. (Behind the dress, you’ll find an honor roll of the thousand benefactors who each gave Chow a dollar bill to create the dress.)

The chain-mail formation is one that Chow mastered early in her career and put to good use in many other instances, including a chain-mail dress that was made of Mighty Morphin’ Power Ranger trading cards. The Power Ranger dress and others, including a hausfrau gown made entirely of 1950s era tape measure, let Chow show off her prowess for subverting and toying with conventional notions of femininity, often with unsettling effects.


Exquisite Corpse (detail) 2015 Mixed media


Exquisite Corpse 2015 Mixed media

Perhaps the most famous of her works, the zipper dress looks sleek, sharp and light, but it is also made entirely of zippers. One cannot help being in awe of its aesthetic achievement, just as one cannot avoid the impression that only a harshly Victorian tolerance for pain would ever allow a living woman to wear it.

For a little relief from all those harsh lines — you can turn to the high-concept and lush collection of sustainable fashion designer Alisha Trimble, whose “Blanche DuMois” line of lingerie provides a complementary foundation for all those shackles of chain-mail brass and plastic.


9 Lives 1993-2016 Brass, plastic, rewound tape