Launch // prompt: Jenni Crain and Audra Wolowiec

In the reading room of Virginia Lee Montgomery and Selva Aparicio's OPEN MIND, we will be hosting the launch of the inaugural issue of prompt:, a new collaborative artist publication directed by Mira Dayal and Nicole Kaack. This edition consists of two printed works by Jenni Crain and Audra Wolowiec, emerging from a long-form conversation between the artists.

RSVP to the event on facebook and read more about the collaboration at prompt:!

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Taro Suzuki / Charlotte Hallberg in THE NEW YORKER

Taro Suzuki / Charlotte Hallberg

This inspired pairing matches Suzuki, a veteran presence on the New York scene, with Hallberg, a young Brooklyn-based painter. Suzuki’s small, square canvases feature offset layers of concentric circles in bright, complementary colors. Because you can’t perceive both layers at once, the flickering surfaces defy you to focus on anything but the over-all picture. By contrast, the rings on Hallberg’s larger tondos, which underlay complex grids of interlocking squiggles, pose the opposite problem: you can comprehend the compositions only one element at a time. Between them, the two bodies of work set up a reverberating visual logic problem that may set your mind spinning faster than your retinas.

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CRUSH CURATORIAL opens a group show called 'Fantastic Plastic" on May 25 6-8PM, up until June 24.  The artists-- Genesis Belanger, Jaqueline Cedar, Vanessa Gully-Santiago, Hein Koh, Christopher Lin, Rose Nestler and Elisa Soliven -- "Play with their own vulnerability as they make public the tearful smirk of one who finds humor in defeat." 


"Young Women Face the Camera Head-on in a Stark Photo Series"  -- Antwaun Sargent

Eva O'Leary "Spitting Image" in THE NEW YORKER Photo Booth

What Teen-Age Girls See When They Look in the Mirror

In her series “Spitting Image,” Eva O’Leary photographs teen-age girls examining their own reflections. The mirror they use is a two-way; O’Leary positioned her camera behind it, so that we see the girls caught in the act of looking. The photos are alarmingly intimate, unguarded, and open. Think of them as the anti-selfie, that punishingly idealized form.

Alexandra Schwartz for THE NEW YORKER