The Curator Gallery, 520 West 23rd Street, New York, NY
Zolla LIeberman Gallery, Inc., 325 West Huron Street, #1E, Chicago, IL 60654
The first Bushwick Open Studios was held in October 2006 as a one day “open to all” festival celebrating the creativity of the artists in Bushwick. There were 85 open studios, a film festival, a group show for those who did not have studios, a community parade and a cabaret, music & variety act closing party in the Nut-Roaster warehouse that is now the Brooklyn Fire Proof Film Studio. The idea for Bushwick Open Studios came out of an event in Nov 2005 called “Bushwick Open Source” (BOS) organized by Bushwick Art Projects. This event was a one night, curated event that linked together multiple art spaces. Back then there were only a few event spaces in Bushwick. There was going to be a second “Bushwick Open Source” event in Oct 2006 with the addition of an Open Studios component, but in late September the event was cancelled.
On September 30th 2006, a small group of artists under the name Gemini Artist Productions purchased the domain name bushwickopenstudios.com and put out the word that B.O.S. 2006 was still on! That a small group of artists and volunteers organized what became the first Bushwick Open Studios in only 21 days and on October 21st 2006 Bushwick Open Studios was born.
Following the success of the first Bushwick Open Studios, it was decided that an open and all inclusive organization should be formed to produce the Bushwick Open Studios annually and to make sure that it would be self sustaining. In January 2007 open meetings were held by the artists and volunteers involved in the 2006 B.O.S. and out of these meetings, Arts in Bushwick was founded in order to organize the 2007 B.O.S. Thus in June of 2007, B.O.S. became an annual summer festival organized by Arts in Bushwick and has continued to grow every year to become one of the largest open studio events in the world.
In the celebratory spirit of the 10th anniversary of Bushwick Open Studios, on October 1-2, 2016, Arts in Bushwick is producing its annual exhibition, Seeking Space, an open-call exhibition with the theme Making the Future.
Arts in Bushwick seeks to open a conversation about Bushwick’s future as a creative community, asking artists to consider, ‘What does our future look like? What can it look like? How can we manifest the future we want to experience?’
The show will open September 30, 6-10pm, and run through October 16, 2016 at DAVID&SCHWEITZER CONTEMPORARY, a new gallery launched by Michael David and Keith Schweitzer at the former Life on Mars space in the 56 Bogart building. The show is organized in collaboration with Arts in Bushwick and co-curated by David and Julie Torres. The space will host discussions and performances during, and the two weekends following, Bushwick Open Studios.
Arts in Bushwick will also launch its first publishing effort at the September 30 opening night. Making History Bushwick is a collaborative effort that showcases over four hundred artists living and working in Bushwick, alongside the organization’s history, and a discussion of gentrification and the arts. It will be available for sale at a discounted rate at the gallery during BOS.
David, who has arrived in Bushwick three years ago both as an artist and Life on Mars gallery director says that, “Bushwick is one of the last communities in New York where artists, and the galleries that support them, can still take risks, make mistakes, experiment, and let creativity flourish,” an unabashedly optimistic take on the show theme, Making the Future. Many changes have taken place in the Bushwick art scene throughout the past ten years, and there is a sense among many local artists, writers, and gallerists that this energetic art hub is at a crossing road.
While that might be true, the Bushwick of today is much different than it once was. Loren Munk is a writer and artist whose work Bushwick unfinished 2003-2014 (oil on linen, 84×72″, 2013-16) is the centerpiece of Seeking Space: Making the Future. He has always been interested in the future of art, artists, and how change happens and one day back in 2003 he pedaled out to the Morgan / Flushing nexus to take a look around.
“No one even knew what to call the area…various tags were tried, but Bushwick stuck,” he recalls. Monk says that Bushwick is facing the same pressures and potential over-development that have occurred in SOHO, the East Village, Chelsea and Williamsburg. He foresees larger, more commercial galleries moving in, and smaller, less commercial spaces moving elsewhere.
Shanna Maurizi, who has also been involved in the Bushwick art scene for the past thirteen years, expresses a similar view. Maurizi, an artist, experimental filmmaker and the founder of the artist-run collective space Songs for Presidents, observes that “most young artists can’t afford to live and work here.” She thinks that an art scene will remain, perhaps as a hub for mid-level galleries, but the artists will live and work somewhere else.
Rob de Oude, an artist and gallerist who has been involved with a few different spaces in the neighborhood since around 2008, including Parallel Art Space, and Transmitter, also sees escalating real estate prices as a crucial game changer.
“In the earlier days everyone would see each other at pretty much the same openings. Now several arts communities seem to be operating simultaneously, while at the same time being pressured to scatter due to increased real estate values,” he says.
With a more optimistic view, Paul D’Agostino, an artist, writer, translator, curator and educator who has been active in the Bushwick community even before opening Centotto, a gallery in his loft, in 2008, interprets the change that has occurred in the Bushwick art scene as a process of growth and maturity. “The consistent increase in the number of artists and art spaces in the area has proven to be advantageous for everyone involved, and it has resulted in an ever greater spotlight being cast on Bushwick as a reliably lively, energetic, and in many ways important art locus,” he says.
Lacey Fekishazy who has been involved in the Bushwick art community for the past ten years as artist and gallerist, also feels that “there is still a creative energy that can be tapped here.” After living in five different NYC neighborhoods, she finds that Bushwick by far gives her the biggest sense of belonging to a community. Fekishazy, an artist and founder of the gallery SARDINE, observes that when she started her space in 2011, there were about twenty art spaces, and now there are about sixty two. “My hope is that Bushwick will continue to be an inclusive community supportive of creative individuals who take risks,” she sums up with an open-ended glance at the future.
Whatever the future holds, join Arts in Bushwick at the opening night of Seeking Space: Making the Future on September 30, and Bushwick Open Studios, October 1-2, 2016 to join in this important conversation.
Seeking Space opening night & Making History Bushwick Book Launch September 30, 6-10pm, September 30 – October 16, 2016, in collaboration with David&Schweitzer Contemporary
56 BOGART, BROOKLYN, NEW YORK
OPEN THURSDAY THROUGH SUNDAY, 1:00—6:00 PM
Image courtesy of Loren Monk, Bushwick unfinished 2003-2014, oil on linen, 84×72″, 2013-16
Coinciding with the tenth annual Bushwick Open Studios, Arts in Bushwick is releasing Making History Bushwick, a 400 page hardcover book written, edited and published by the collective that facilitates the annual event. The glossy 9×9 inch hardcover features 400 pieces of art by 405 artists, submitted as part of an open call exhibition in Bushwick in spring of 2015.
Making History Bushwick will go on sale at the book launch September 30, 6-9pm, on the opening night of Bushwick Open Studios 2016.
The book launch coincides with the opening night of Seeking Space: Making the Future, Arts in Bushwick’s official group gallery show featuring our seventh annual open call of work including 305 local artists at David & Schweitzer Contemporary. The book will be available for sale at the gallery through closing night on October 16. Open hours are Thursday through Sunday 1-6pm.
To introduce the art in the context of its geography, Making History Bushwick shares historical ephemera from a nascent and maturing arts organization, following its growth trajectory through a decade of volunteer artist-coordinators and community builders. The timeline turns to the historical record of Bushwick and moves into a deep archive of stories from Arts in Bushwick’s existence and some of the problems posed by organizing arts events that create influence in a rapidly gentrifying community.
While many people were integral to this project happening, the book and exhibition were made possible by the extraordinary organizing efforts of volunteer Arts in Bushwick coordinator Cibele Vieira.
MAKING HISTORY BUSHWICK INTRODUCTION
EDITED BY NICOLE BRYDSON
The Bushwick neighborhood in northern Brooklyn sits inland alongside the Newtown Creek and directly south of the Queens border in a combination industrial and residential urban corridor of New York City.
Around the turn of the 21st century, an influx of artists began trickling into Bushwick’s industrial parts, attracted by wide-open warehouses with inexpensive live-work spaces. By 2016 that trickle became a fire hose on full blast. Where once houses were burned for insurance money as recently as the downtrodden decade of the 1970s, real estate in 2016 is on fire in a different way. In the wake of a troubled past, a shiny upbeat future stands before us. It is literally being built before our eyes in the form of modern condo boxes, stacking high into the sky. That we have watched history repeat itself here, however, means some of Bushwick’s most longstanding and resilient residents have become displaced by the influx of wealth that has followed in a wave that can be described as both post-Chelsea or post-Williamsburg, depending on your generation.
It is within that context that the all-volunteer, artist-run grassroots organization Arts In Bushwick is turning ten years old, and our most well-known arts event, Bushwick Open Studios, will live on in its tenth iteration. The festival’s lifespan, documented in these pages, has occurred alongside, and often encouraged, wittingly and unwittingly, the extreme makeover that is in motion here.
Recognized by art historians, critics, buyers, gallerists, and other artists across the globe who visit over 1,000 art studios, 60 galleries and performance spaces, and myriad murals packed into two square miles, Bushwick has grown to include a highly concentrated community of artists. The creative energy is unrivaled, collaboration sometimes unavoidable – within certain spheres – and the pace of change utterly overwhelming.
More than 1,200 artists registered for, and many more participated in, the 2015 Bushwick Open Studios festival. Arts in Bushwick has also facilitated dozens of exhibitions, community programs, educational events, panels, blog coverage of the neighborhood, and year-round opportunities beyond the visual arts.
As a collective, one of our principal goals is to empower a socially responsible group of intersectional humans to create art and showcase it. We have fallen short of this goal often in our ten year history, particularly while learning the difference between something that is “open” and something that is “inclusive.” The gap between these things is what it means to be intersectional or not.
Our greatest vulnerability as an arts collective appears when we ignore the role that we, and our art plays, whether we like it or not, in how the neighborhood and its economy have changed over time. Often arts organizations like ours have failed to recognize the perils of gentrification until it begins to affect artists’ ability to afford creative communities.
In defiance of our perhaps otherwise aesthetically inclined lives, there is a discomfort that arises when experience reveals the politics of art – whether politics are claimed or not – but it can be evolutionary, and it can and should be used to integrate and intersect the lives of all members in the Bushwick community, past, present and future. It is up to us to individually interpret, and strive for, our place in this hybrid global and local economy of creativity, and our responsibility to recognize the paths of others and our relative privilege.
This book was made not just in celebration of our organizational anniversary, the amazing and creative talent that has associated with Arts in Bushwick and our neighborhood, but as a way to document, question and understand our history, experience, place and current events of our beloved space in context. This book features a variety of perspectives through the written word and visual art of many of Bushwick’s residents, past and present.
This project comes at a pivotal time in Bushwick, where a rapidly growing community means the culture of the neighborhood has shifted the pendulum of perspective in media to mostly newer faces, many from the art world. Through this global visibility, the international, transient art world class renders its privilege by directly increasing the economic strain on residents who are often invisible to them, particularly in sentiments like, “nobody was here before the artists.”
We recognize and lament that residents were propelled from their homes by the price hikes of life in Bushwick, and that now many artists find themselves in the same boat, with rent at unattainable reaches for many longtime residents of the artist and creative classes. To continue working and remain in their homes and studios, artists and residents must reckon with the realities of circumstance, which come as a result of rapid real estate development made possible by our very own aestheticism.
Ultimately this book is our conversation – it represents the many voices and positions that have sprung forth in our dialogue. Arts in Bushwick hopes this book can be used as a reference not only for Bushwick’s community but also within the art world and other creative communities in similar circumstances and conversations, especially in our borough of Brooklyn. We use these pages to explore what is possible when communities come together as well as to make visible what happens when we do not. We seek an examination of ourselves.
We begin with an overview of Bushwick’s shifting economy and populations, from its origins up to what it is today by current Arts in Bushwick blog editor, artist and archivist Aniela Coveleski. What follows are a compendium of five articles chosen by Chloë Bass, a founding artist organizer with Arts in Bushwick. The articles tell us a little about what AiB organizers were thinking, as well problems that are raised in the process of creating an arts community in the framework of a gentrifying neighborhood.
The history of Arts in Bushwick is provided through the testimonies of our volunteers who have participated throughout our decade-long life. These sidebars are little windows into the lives of key Arts in Bushwick volunteers, alongside images from our archives of catalogues and interiors of many artist studios taken by Hrag Vartanian of the arts blog Hyperallergic over the past ten years.
Bushwick native artist and activist Anthony Rosado organized the next chapter, called Ever-Gentrifying New York City: Conversations on Displacement & Community Building. Anthony has experienced the effects of gentrification and displacement firsthand, and as a curator of this anthology, he sought to collect reactions to, and documentation of, displacement and community building in Bushwick and other similarly positioned neighborhoods of New York City. These are voices that might otherwise be invisible to a traditional art world audience.
The anthology starts with a conversation between Rosado and his ancestors. This is followed by Cynthia Tobar, a native Bushwick resident, whose documentation of people on the frontlines of housing activism is essential in our battles against displacement and erasure; Tom Angotti, a longstanding revolutionary who encourages inclusive community planning and whose lens is necessary when discussing anti-displacement methodology in Bushwick; Lauren Raheja, who covers the Secret Garden’s ability to survive through aggressive gentrification, while providing to the community, is an example of community building and sharing resources from which we can all learn; Robin Grearson, a writer who participates in and tells the story of a community conversation called Part of the Solution, involving Arts in Bushwick core organizers; and Meg Sullivan, who struggles with white guilt, revealing and pummeling the apathy of ignorant new residents of Bushwick. The anthology ends with Yazmin Colon, a community organizer introducing her work in Bushwick with the youth group she founded, Educated Little Monsters (ELM). ELM is not just a safe heaven for kids, it is also directed by the leadership of the youth, where they make their own choices on artistic taste and expression through art, fashion, music, dance and theater. Some of the ELM kids are pictured here in culturally relevant clothing of their ancestors to connect the kids with their personal history. The anthology is illustrated by Bianca Perez’s photographs archiving the feeling of exclusivity that gentrification inspires.
The second half of this book features 400 works by 405 artists who responded to Arts in Bushwick’s open call to be included in the Making History Exhibition and Arts in Bushwick benefit, which provided the means for publishing this book and supporting our year-round programming.
The exhibition’s open call asked artists to self select as part of the recent art history of Bushwick. The show was inspired by an eponymous text by the artist and writer Loren Munk, who has graciously agreed to let us reprint his essay here, just ahead of the artwork on display. We feel this is an amazing introduction to the work that directly takes up the challenge Munk makes to us, the artists, to empower ourselves to create and document our own history. Here it is: We made it in the most independent fashion we could muster.
In epilogue, artist Jen Hitchings interviews Krista Saunders Scenna and Dexter Wimberly, the curators of Making History, which opened on April 19 and closed on May 10, 2015, with a benefit raffling off work to fund the labor of love that is this book that you hold in your hand. Together with the Arts in Bushwick Benefit Committee, they led more than 60 volunteers in putting together the visual experience of the exhibition at Store Front Ten Eyck gallery – owned and operated by the artist Deborah Brown, whose support was immensely helpful through the lead-up to and exhibition of Making History.
Finally, we also asked the writer James Panero to examine Bushwick’s current art scene in the context of art history, and he gave us Paris, one hundred years ago. James is a very present art critic in Bushwick, a connoisseur of Bushwick Open Studios for all ten years, and once calculated that to visit every studio during the event, the visitor must spend less than a minute and a half at each site, travel included.
We have to end this conversation saying that Arts in Bushwick is a patchwork of minds that have and had different opinions and sometimes-paradoxical ideas and opposing viewpoints. We think we are richer because of our differences and our willingness to keep talking. We may not have answers for all of the problems presented by the global arts economy and gentrification, but we are certainly not looking the other way from those problems; rather, we are reaching out to find and facilitate solutions. It is imperative for the future survival of this collective.
The intention of this project is to shift the paradigm that just the colonizers, the winners, the well-offs, write [art] history. Within this book we hope we are writing another, more honest story of our neighborhood and our organization’s sometimes-messy history. We do not know if this is a successful history – it depends on your parameters for success – but we know that this is our history, created with our own work, with love.
Thursday, September 22 | 6:00–9:00pm
Presented by the Women’s Board benefitting Museum of Contemporary Art Chicago.
Friday, September 23 | 11:00am–7:00pm
Saturday, September 24 | 11:00am–7:00pm
Sunday, September 25 | 11:00am–6:00pm
600 E Grand Ave
Chicago, IL 60611
OPENING RECEPTION: SEPTEMBER 9TH, 6-8 PM
GP Presents is pleased to announce Representing Rainbows, a group show curated by the painter, Lisa Corinne Davis. Artists include David Humphrey, Deborah Kass, Elena Sisto, Elliott Green, Jeremy Willis, Joanne Greenbaum, Jon Kessler & Mika Rottenberg, Jonathan Tracy,Judy Simonian, Julie Heffernan, Katherine Bradford, Leslie Wayne, Lisa Hoke, Lisa Sanditz, Olivia Booth, Robin Tewes, Tim Davis, Todd Knopke and others.
Venerated as godly, dreaded as demonic, and ground zero for optical theories, the rainbow's image is woven into the fabric of our past and present. The pleasure of its color, regularity, and geometric form lasts only briefly. This precious transience is a decisive dimension of the experience of beauty.
The rainbow is not an object but an image; it is a phenomenon of light rather than matter. It has no particular position in space, unless that position is infinity. And how do you represent infinity? The rainbow’s image is affected by time, distorting location. Nothing is fixed; all is fluid and subjective.
At the core of the desire to represent a rainbow is wonder. Something between sensation and thought, between aesthetics and science, wonder is the boundary between the obvious, the ordinary, and the everyday, on the one hand, and the unknowable, the inexpressible, the unformulated on the other.
For the artists in this show, the desire to depict a rainbow begins with their acceptance of a path of sensuality. Here they can create a moment of not fixing a work of art, but rather of trying to get acquainted with it, having it reveal itself as a singular poetic experience. Throwing themselves into the experiential world, willfully ignoring systematic knowledge, these artists are embracing how wonder can occupy a phase of the alert mind. Their representation of rainbows encapsulates the essence of aesthetic experience and the artistic journey.
Alternative Dimension: Lisa Corinne Davis, Maureen Hoon
Curated by Michelle Loh
We construct our imagination and identity, to a great extent, based on recorded images and predefined concepts, and we receive labels and fictions that allow us to make quotidian sense of the world. Art can call our received labels and fictions into question and provide an opening where we can access our imagination and identify anew. Coming from different generations, raised in different, hemispheres, Lisa Corinne Davis and Maureen Hood create works that are different on the surface, yet both artists bend representations of the physical world to a similar purpose. Drawing references from the urban environment, their works allude to materiality, space, image, and affect, and provide access to new ways of seeing and understanding.
Project Art Space. 308 at 156 Fifth Avenue
This new inter-disciplinary creative project space is located in the Presbyterian Building, a French Gothic
chateaux-inspired building on lower Fifth Avenue. In this architectural jewel with its diverse history, the organization is programming events and exhibitions in which young artists and seasoned curators have the chance to meet, engage and promote new collaborative projects.
Please contact Aaron Zulpo at email@example.com to subscribe to our mailing list or for more information.
Gallery is located at 156 Fifth Avenue, Suite 308 NY
On The Waterfront, a pop-up exhibition organized by photographer and video artist Katie Murray, will feature works by 13 contemporary artists. The show’s title On the Waterfront speaks to the gallery’s close proximity to the Gowanus canal, a once thriving waterfront, as well as to Elia Kazan’s iconic American film. Kazan made the film On The Waterfront in the aftermath of testifying for the House Committee on Un-American Activities (1952). Finding us in a similar suspect and paranoid period this group exhibition will incorporate works of various mediums that suggest this uneasiness and anxiety. The exhibition will be held in a 19th century townhouse onThird Avenue.
On The Waterfront will feature works by:
Nathan Carter, Lisa Corinne Davis, Matt Ducklo, David Deutsch, Linda Gallagher, Jeremy Haik, Joseph Maida, Victoria Sambunaris, Dan Torop, Ted Partin, Jennifer Cohen, Adam Putnam, and Mary Valverde.
The works presented in the exhibition will encompass a wide range of media, including contemporary color and black-and-white photography, figurative and abstract painting, line drawing, sound, and sculpture.
- Hours: Friday, Saturday, and Sunday 12pm-6pm and by appointment
- 583 Third Avenue Brooklyn, NY 11215
- For press inquires please contact: Katie Murray at firstname.lastname@example.org
Gerald Peters Gallery, New York, NY
Zolla/Lieberman Gallery, Chicago, IL
101 West Putnam Avenue
Greenwich, CT 06830
This exhibition examines the phenomenon and reasons for the resurgence of abstraction. Works by approximately 30 New York artists are featured. Internationally recognized artists include Elise Adibi, John Allmaier, Timothy Atticus, Paul Behnke, Amanda Church, Vince Contarino, Paul Corio,Peggy Cyphers, Theresa Daddezio, Lisa Corinne Davis, Rob de Oude, Jon Elliott, Robert Otto Epstein, Franklin Evans, Rico Gatson, Enrico Gomez, Clare Grill, Shirley Kaneda, Julie Mehretu, Lucas Moran, George Negroponte, Odili Donald Odita, Gary Petersen, Jenna Ransom, Jered Sprecher, Barbara Takenaga, Julie Torres, Terry Winters, Robert Yasuda, and John Zinsser.
A renaissance of abstraction has recently surfaced cross New York. The sine qua non of modern art, abstraction fell out of favor in the late twentieth century with the emergence of postmodernism and its concepts of paradox, pastiche and deconstruction. But at the beginning of the twenty-first century, abstraction has arisen from the ashes of its professed death with a power and potency rivaling its inception. This phenomenon and the reasons for its resurgence are considered in NEW NEW YORK: Abstract Painting in the 21st Century.
October 4 – December 4, 2015
The Art Gallery at the University of Hawai‘i at Mānoa McCarthy mall, Honolulu, HI 96822
OPENING RECEPTION: Wednesday, April 29, 6-8pm
OPENING RECEPTION: February 26. 6-8pm
November 19, 2014 - January 17, 2015