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Last week I posted a lengthy, ambling, ultimately perhaps tiresomely discursive roundup of 2016 art highlights. As you’ll likely recall if you read the piece—or as you might observe if you read it here—I found it rather difficult, even nearly dishonest to dig into all the microcosmic good of NYC art shows and the like without first addressing various aspects of the macrocosmic bad that has characterized so much of what we’ve seen in...
(All photos by Paul D'Agostino.) As many other recent year-end roundups of all sorts have similarly stated, the year 2016 will be recollected for quite some time for a great many reasons, and perhaps primarily thanks to its all-too-well-played role as temporal host to so many things that profoundly sucked. A number of beloved celebrities passed away well before what would've seemed 'their time,' which made many people sad, because for some reason so many of...
I probably don't need to open this post with a lengthy, serpentinely worded commentary or critique on how the generally befuddling, definitively unseemly, ethically incongruous, historically anomalous morass of tawdry affairs that characterizes the current status quo of the transfer of power at the executive level of the government of our United States of America gets increasingly awkward, mentally cumbersome and phenomenally embarrassing from one day to the next, and in accelerating modes that...
Eight grey horizontal planes stretch from foreground to background like a wide set of stairs leading only to a wall, or like a set of bleachers pushed up against one, in the opening moments of Buster, a video piece by Kate Gilmore. The first seven of these steps or planes might also be likened to plinths, in a sense, since they’re lined with smallish, minimally shapely, quite unadorned clay pots, about 140 in total....

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