Jessica Lichtenstein, “Do They make a Sound” (2020) curated by the Untitled Space (all images by the author for Hyperallergic)
“Immersive” feels like one of the key terms by which to gauge what is happening in the contemporary arts scene — immersive environments, immersive experiences. Going hand in hand with this theme, the projects at the latest edition of Spring/Break Art Show, titled In Excess, deepen and extend that feeling of immersion by being hallucinatory, obsessive, and ravishing. From the moment I stepped off the elevator, I felt all of the above while walking through the show.
Kate Klingbeil, “Burrowed” (2020) curated by Rachel Frank, Kristen Racaniello, and Jacob Rhodes of Field Projects
I immediately took to Scooter LaForge‘s installation (curated by Joshua Nierodzinski) of paintings, textiles, and ceramic. The entirely baroque dinner table setting featured cups and plates gilded with a thin rim of gold, all upcycled or recycled, which made me appreciate the work more.
I picked up the theme of living under the threat of climate change in several projects. The one I appreciated the most was Rachel Schmidt‘s “Vanishing Points” (curated by Dawne Langford), which uses video projections, furniture, and a host of single-use consumer items to construct a vision of opulence set in a dystopian future where we have at last collectively depleted the earth of most of its natural resources. Schmidt’s installation is foreboding, yet inviting, precisely because of its ravishing footage, shot in Taiwan and Scotland.
Scooter LaForge, “Please Don’t Feed the Animals” (2020) curated by Joshua Nierodzinski
Rachel Schmidt, “Vanishing Points” (2020) curated by Dawne Langford
I felt lucky to run into LJ Roberts, with whom I had a studio visit about a year ago, during which we discussed her textile van piece, which is here titled “Vantasy Vehicle Vessel Veroshop” (2020), a kind of obsessively nurtured tribute to van culture and queer women.
I also ran into Anna Cone, (who I remembered from last year’s Spring Break) who was showing with Victoria Udondian, Max Colby, and Kirstin Lamb. Their “Tableau Vivant” project is a celebration of sumptuous paintings and textiles and ornate design.
Anna Cone, Victoria Udondian, Max Colby, and Kirstin Lamb, “Tableau Vivant” curated by the artists
LJRoberts, “Vantasy Vehicle Vessel Veroshop” (2020) curated by Dustin Yellin
Jess Bass, “See/Saw” curated by Nadia Tahoun
Lastly, I found myself ensconced in what felt like an ethereal, surreal film when I walked into an installation curated by Sarah Darro (with artists Sarah Wertzberger, Heath West, and Robert Raphael). I was further impressed by the title of the installation: “total work of art.” I loved that they resisted using the synonymous German term, which is frequently wielded as a kind of art scene shibboleth. This is how Spring/Break feels each time I visit: a total work of art I’m welcome to dive into, regardless of what language I’m conversant with.
Destiny Belgrave, “Tender Tending” (2020) curated by Tess Sol Schwab
Natalie Baxter, “Guns Guns Guns” (2020) curated by Lauren Wolchik
Natasha Wright, “Sistah Grotto” (2020) curated by Ben Pritchard at SFA Projects
Sarah Wertzberger, Heath West, and Robert Raphael, “total work of art.” (2020) curated by Sarah Darro
Spring/Break Art Show’s In Excess continues at 625 Madison Avenue (Midtown, Manhattan) through March 9.
The Latest
Basking in Vermeer’s Light at Rijksmuseum
In Vermeer’s paintings, the world is much larger than we imagined and yet somehow deep, meaningful, and magical.
The Art World “Darling” Who Went Rogue
Joan Brown resented the easy commodification of her work, and the incessant demand for her to create something just so others could own it.
Tulsa Artist Fellowship Calls for Artists and Arts Workers of All Disciplines
Ten awardees will receive a total of more than $1.95 million in support and resources in Tulsa, Oklahoma.
How Anthony Daley Abstracts Rubens
In the work of Rubens, painter Anthony Daley finds correspondences of color that can carry expressive meanings abstractly.
Native Filmmakers Decolonize the Screen
“Only Indigenous voices can tell their stories with dimensionality, and the tools to make that happen are incredibly accessible,” says film director Christian Rozier.
Pedro Reyes Explores Disarmament in DIRECT ACTION at SITE Santa Fe
The Mexican artist confronts gun violence and nuclear power through sculpture, print, performance, and video work.
Netflix Forgot to Include Puerto Ricans in Production of Reggaeton Show
Critics say the new comedy series Neon was written, directed, and produced by non-Puerto Ricans.
It Was No Pearl Earring, Friends
The pearl earring in Johannes Vermeer’s famous masterpiece was likely a fake, researchers say.
Call for Applications: Inspiration Lab Artists-in-Residence at University of the Arts
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Hirshhorn’s New Reality Show Looks for America’s Next Top Artist
Seven artists will compete for a cash prize and a chance to exhibit their work at the Smithsonian’s Hirshhorn Museum.
Indiana School Catches Heat for Plan to Deaccession Works
Top museums organizations condemned the Brauer Museum of Art’s plan to sell major artworks to fund the construction of new dorms.
Onsite Gallery Presents more-than-human
The media artworks in this show at Toronto’s OCAD University tell a tale of symbiosis, intersections, and more-than-human relationality.
New Hampshire Bakery Sues Town to Save Pastries Mural
The fight over the mural, painted by high school students, evolved into a First Amendment case.
US Museums Reduce Emissions With Help From Frankenthaler Foundation
Art museums and schools are encouraged to apply for the grants.