Le [Pomp]idou

I fell in lust once with a pink haired pomp raver type pot dealer with a famous-authur-dad and cool friends.  He was my real first french kiss and nothing else. Powdered skin, lip mole.

Anyhow...Centre Pompidou brings it every time. I'm proud to say that every Paris visit for me includes the grand 'ol Pomp, creaky escalators and all. #tb60cycle

Artwork Mona Hatoum 

All photos SdC copyright 2015


I've been lucky to call Will Villalongo my friend for close to 10 years now and I say with as little bias as possible that he is one of the best artists in NYC today. His work excites from afar, brings joy at approach, stirs emotional wells. Fellow artists, real estate developers, intellectuals and scholars formed physical circles at last night's opening, delving deep into discussion while still retaining awe for Villalongo's approach on current and historic politics.

Mind, Body & Soul at Susan Inglett Gallery is INTREPID: spirited, unflinching, dynamic and bold. 

FAILE: wishing on you

Wishing On You leans on craft yet stands as art.  An immediate dialogue begins as if framed with gilding, fine art on a fine wall.

Artistic collaboration FAILE is duly represented in NYC this Summer and early Fall with a large scale interactive piece in Times Square and exhibit Savage/Sacred Young Minds at The Brooklyn Museum.

Spinning a deeply carved wooden totem in the center of the piece, I couldn't help but send a prayer to those on my mind.  Love and Healing to my Color Guru and her recent heartbreak.  Peaceful journey to grandfather uncles in Malaysia.  Hot Sex to wound-up, angry, frustrated people that carry negative force fields and win trophies for harshing mellows.

SPRING/BREAK at Moynihan Station

I cannot write this post without first acknowledging how utterly amazing it was to step into and explore the upper floors of Moynihan Station aka NYC's flagship United States Post Office. No matter that is was crusty and stale, neglected for too long as seen from the threadbare carpeting, water damaged drop ceilings and broken plumbing. The building is iconic. I hope that whatever restoration takes place ends up looking more like Denver's Central Station and less like what has been done to the old Limelight.

Anyhow, the art! The show as a whole - pardon my blanket view - felt new school in two ways: One, most of the pieces looked like no other work shown at multiple fairs happening the same weekend (which is a great thing). Two, I was not cool enough to sit at the table.

Below are standout pieces by Lauren Portada, Jaz Harold, Brent Birnbaum and curation/representation by Yulia Topchiy, Natalie Kovacs, Christopher Stout and the zine ARTVOICES.


Jeff Koons retrospective at The Whitney Museum

Although not a Jeff Koons fan per se I could not resist when Steven Tibaudo took a day off from work and invited me to traipse around the Whitney for this massive retrospective.

I could not bitch out.

Koons! Koons! Koons!

On a more serious note: this is the last show at the well-loved Whitney Museum Madison Ave. location. The Gansevoort St. opening is in May 2015. RIP The Whitney. Long live The Whitney!

By Invitation Only at Kinz + Tilou

In a large brownstone on a tree-lined block in the Clinton Hill neighborhood of Brooklyn lies a two story gallery. If last night's opening was a glimpse into the future of Brooklyn art happenings then we are in for a treat. Tim and I rode bikes over for a quick stop before headed to BAM to see Jim Jarmusch's Only Lovers Left Alive. Tilda!

Guest curated by Mickalene Thomas, Renee Riccardo and Andrew Gori & Ambre Kelly.

Pieces in order off appearance in slideshow: Transparent Region series by Lauren Portada; Cosmas by Jeffrey Vreeland; Object:Body (#9) by Macklen Mayse.

Ruffneck Constructivists at ICA

Last weekend's trip to Philly was an art affair to remember. First up: the new Barnes Foundation which was overwhelmingly amazing and curated as the original was but no photos allowed!

A break for lunch at some amazing hole-in-the-wall Vietnamese joint.

Next up: The Institute of Contemporary Art, Philadelphia where Kara Walker curated a meticulously edited show.  I particularly enjoyed the massive wall piece by William Pope.L 

Witness: Art and Civil Rights in the Sixties at The Brooklyn Museum

In order of slide show appearance:

close up of Urban Wall Suit by Jae Jarrell, 1969; Negro es Bello II by Elizabeth Catlett, 1969; Big Daddy Paper Doll by May Stevens, 1970; Black Man and Flag by Rupert Garcia, 1967; Watching the Good Trains Go By by Romare Bearden, 1964

Russell Frederick

Russell Frederick shoots in black & white and rarely going digital.

I recently attended a fashion conversation hosted by the Brooklyn Museum where Frederick was on the panel discussing current Brooklyn style. His dynamic point of view draws you into an emotion, creating instant empathy with the subjects.


The Shadows Took Shape at Studio Museum

It has become a rare thing in New York to find oneself at a truly magnificent group show. My mind would like to thank the Studio Museum for expanding it a bit more. It was the first time in a long while that I wished to have brought the 'good' camera.

Some pieces resonated with me more than others. In order of slideshow left to right:

A still shot from the film Girl by Chitra Ganesh & Simone Leigh. Thought provoking art at its best. With a wonderful flute score by Kaoru Watanabe and starring Kenya (Robinson).

Sista Ancesta by William Villalongo

Untitled photograph by Robert Pruitt


Philippe Quesne for Performa 13

The French artist Phillipe Quesne transported a mostly 30 something audience to a mystical mole land in Red Hook, Brooklyn with a live theremin soundtrack, local scotch on the rocks and a Michelle Williams sighting.

It was all part of the city-wide Performa 13 visual arts biennial taking place now until November 24th.

MDJ at Hauser & Wirth

Friend I'll grow old with Matthew Day Jackson opened his latest show in New York at Hauser & Wirth last Friday to much applause. Enormous in ideas and scope - Something Ancient, Something New, Something Stolen, Something Blue - was visually arresting. One had to wrap their eyes around the scale of each piece before beginning to contemplate the emotional depth. The shit was bananas. 




Hauser & Wirth in the old Roxy nightclub space 511 West 18th Street