Ky Anderson

Jason Jagel

I’ll be the first to admit to being slightly stuck in my ways. Though a proud resident of Brooklyn, when it comes to art, I confess to often ignoring my favorite borough. Though home to a strong contingent of artists, Brooklyn’s estimable galleries in Dumbo, Williamsburg, and Bushwick are often overlooked. On Thursday night I mustered my courage and set my art viewing horizons not on Chelsea or the Lower East Side, but boarded the G train ( an act of bravery in itself) to visit Williamsburg’s Cinders gallery. The reason for this madcap adventure was the opening of artist/musician Sonny Smith’s newest project “100 records.” In its second rendition after debuting in San Francisco earlier this year, the exhibition showcases the work of 100 different artists, each selected to produce a unique 7” record cover for a fictitious band. Sonny then concocted a unique back story, and wrote and recorded a song for each cover. Playing on a homemade jukebox throughout the show, the songs range from folk to surf and back. Continue Reading More »

Lola

When it comes to the summer season, New York has a lot to offer. From the infamous dumpster pools to free concerts in the park, those of us who can’t afford to escape to the Hamptons have our choice of activities. Unfortunately, when it comes to the art world, the dog days get a bad rap. August is often referred to as “off season.” It’s true that those looking for flashy blockbusters will likely be disappointed, however one key element is often overlooked – the group show.

The Annual Summer Invitational at Jonathan Levine, which opened Wednesday night, is an excellent example of why I love the slower pace of the art world in the summer.  The gallery is chiefly known for its street art meets gallery, low brow, counter-culture influenced aesthetic–one which is not necessarily my own. With past shows by Shepard Fairey, Blek le Rat, Jeff Soto, and Invader, I have come to expect something very specific when I enter the doors of the Levine gallery.

Evol

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Retratos Pintados the current exhibition at Yossi Milo Gallery, presents a unique look at a little known and fascinating photographic tradition from Northeastern Brazil. The 150 vintage painted photographs stem from a practice popular in parts of rural Brazil since the late 19^th century.  Until the 1990s local artisans were commonly employed to embellish black and white family portraits using washes of oil paint and other techniques indigenous to the area. The practice was not wholly decorative. Long before the denizens of Myspace were photoshopping themselves into oblivion, Brazilian families were wrinkle free, had white smiles and full heads of hair.

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