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

Oliver Warden

That being said, the show was really enjoyable.  While the exhibition was not necessarily a departure for the gallery, it showcased a surprising group of young and emerging talents. The 13 artists ranged from the whimsical surrealistic works of Lola to the bright textural oils of Oliver Warden. Three pieces by the German artist EVOL were especially interesting. Using stencils and spray paint the artist portrays solitary street scenes and crumbling building facades. The stark realism of these (I’ll risk calling them paintings) is made all the more dramatic by their cardboard box supports. Another favorite, Andrew Hem’s three works reference his Cambodian heritage, while showing off his promising talent as a painter.  Dominated by a pervasive blue and a sense of melancholy these paintings showcase the artist’s relish for his craft. At first I overlooked these works. I was immediately turned off by the transformer-like robot lightly painted into the background of You Brought This on Yourself, however, the more I looked the more I was impressed by the artist’s treatment of light and his delightfully loose brushstrokes.

This is what I love about New York in the summer; it’s an opportunity to be surprised, for gallerists to experiment, and for audiences to acquaint themselves with young and emerging new artists. (Cold beer and free air conditioning is also appreciated).

Andrew Hem

(all images courtesy of Jonathan LeVine Gallery)

The group exhibition appropriately entitled Shred curated by Carlo McCormick opened yesterday at Perry Rubenstein.  This slightly informal exhibit houses an eclectic collection of collage work (i.e. Jess, Bruce Conner, Leo Fitzpatrick) mixed with edgy urban art (i.e. Swoon, Shepard Fairey). The show is definitely a stand-out, drawing downtowners (there is one Dash Snow piece) as well as skateheads from the Lower East Side. Although collage as a medium is not something new, lately it’s seems to be resurfacing and Shred exhibits a rare grouping of established artists together next to emerging local artists. I’m a fan of the ex-Beatnik Bruce Conner (1933-2008) who produced inspirational works in a diverse range of mediums from found materials collages to experimental film-making. Also drawn to the newcomer Leo Fitzpatrick’s subtle assemblages, which at first sight doesn’t seem like much, but on closer inspection they reveal a hint of wisdom.

(Leo Fitzpatrick 2010)

It is interesting to see that the curator Carlo McMormick being senior editor of Paper magazine, brings to light the art form of deconstructing preconceived media. It isn’t high art, which normally people view from a distance, but an art form that speaks directly and intimately to the viewer in an abstract way. At the opening are full of curious lookers sucking in oddly familiar images, getting a dose of rebellious behavior. And my little indulgence lies in observing how people looks at or responds to that.

(Dash Snow 2006-7)

(Swoon, 2010)