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With nostalgia taking hold at The New Museum Triennial and MoMA PS1’s survey of Greater New York, Dean Kissick wonders: what’s so great about it? When art gets sucked back into tradition, where is the future to be found?
The New York-based painter culls Instagram and the internet for her images, with a particular fondness for nail art and food porn. The artist anticipates that her works will be reabsorbed by the social media platforms from which they were taken. Tenzing Barshee and Camila McHugh spoke to Gina Beavers about trying too hard, making your own memes, and the realness of the world.
With the dawn of a new decade comes the possibility that all could start over, be good again. DEAN KISSICK takes us on a journey in search of exhiliration in art, theatre, and elsewhere. Follow his trek from Mexico to New York, out of the glum and into glam and glee.
Originally envisioned as a survey show of emerging artists, the fourth instalment of “Greater New York” at MoMA PS1 changes tract and raises the average artist age to a getting-on-a-bit 48. Through the more mature positions the difference between old New York and the “Post-Bloomburg iteration we’ve inherited” becomes startlingly clear. Musing on the inclusion of videos of drag performers by Nelson Sullivan and the cruising photographs of Alvin Baltrop, our writer gets nostalgic for the salad days of NYC.
With his denim installations, colourful body paintings, and dreamy videos, Korakrit Arunanondchai has achieved a quick and controversial success on the art world's stage. By Harry Burke.
