There are countless gallery guides exploring the cultural events happening throughout NYC, but how many can you find within walking distance or bus ride of your nest? How many events happen right down the street that you could swing by after a nice dinner with a friend? Why does every single blog profile seem to profile events happening in the art areas of Chelsea and the Lower East Side?
With these thoughts in mind, here at -1 Below we take a look at cultural events happening around New York City, minus one boro: Manhattan.
Below we consider upcoming cultural highlights with five not-to-miss events from Brooklyn, Queens, Staten Island and the Bronx… with some cultural events to entice guests willing to venture farther afield.
“Night Regulation” Radiator Gallery, 10-61 Jackson Ave, Long Island Cityfeat. artists Loren Britton, Maria Dimanshtein, Nicholas Fraser, JF Lynch and Andrew Prayzner – curated by Patrick Neal. An exhibition touching on the fraught and complex relationship between conceptual and formal elements present in contemporary art. Opening: Feb 2nd from 6-9 pm
“Incision: Feminist in Residence” Project for Empty Space, 2 Gateway Center, Newark, NJ(across from Penn station skybridge) feat. artists Chaya Babu, Christen Clifford, Camille Lee and Katherine Toukhy. Profoundly feminist, this exhibition explores the personal and political presence of being a woman artist in a complex, hierarchical art world pantheon. Opening: Jan 31st from 6-8 pm.
“Know Your Mushrooms: Mycology 101” Earth Arts Center, 936 Madison Street, Brooklyn, NYfor artists with a taste for the wilder side of nature, this class, led by expert agriculturalist and PDC practitioner Oliver Bolotin, covers key points outlined by Paul Stamets in the tome “Mycelium Running”. This class will cover wild mushrooms as well as growing your own fungi colony at home. Event takes place Sat, Feb 3rd: doors open at 8 pm with discussion beginning at 8:30.
“Reenactment” gallery talk, BRIC (The Stoop @ BRIC Arts) 647 Fulton Street, Brooklyn, NY.Coffee + Conversation discussing current BRIC exhibition “Reenactment” with curator Jenny Gerow and exhibiting artists Maria Hupfield and Farideh Sakhaeifer on how certain histories are privileged, stifled, and/or eventually re-examined. The exhibition features artworks by Ken Gonzalez-Day, Crystal Z. Campbell, Alicia Grullon (pictured in cover image), Hupfield, Sakhaeifer, and Marisa Williamson. Feb 3rd from 12-1 pm.
“Coming to America” Free Screening @Brooklyn Bazaar, 150 Greenpoint Ave, Brooklyn, NY.A light-hearted look at America (specifically, Jamaica Queens) through the eyes of a visitor from our current administration’s so-monikered “shithole countries”, come laugh off our current xenophobia with Eddie Murphy and Arsenio Hall’s devastatingly witty performance, with turns by the commanding James Earl Jones and Madge Sinclair in the classic 1988 film directed by John Landis. No RSVP required, seating first come first serve. Jan 31st from 8-11 pm.
At Parasol Projects through Sunday November 26th, the Asian Society of Arts presents the group exhibition “In time/Out of Place,” curated by Katya Grokhovsky.
Making manifest the latent struggle existing between our temporary human existence and the longevity of place, the exhibition investigates aspects of identity and geography.
The Asian Society of the Arts, which advocates for and provides opportunities to artists from overseas relocating to the United States, here features works by artists Munjer Hashim, Jian Yi, Maiko Kikuchi, Harshad Marathe, Kohei Urakami, Jerri Wei, Xiaoye Xing, and curator Grokhovsky who hails from Australia.
Utilizing video, animation, prints, digital art, illustrations and architectural stylings, “In time/Out of Place” takes new media and contemporary topics to new levels in an urgent and coherent exhibition.
Programming includes a lecture on Saturday, 11/25 at 4 pm and a closing event on Sunday, 11/26 from 6-8 pm. Exhibition hours last from 12-6 pm until the closing party on Sunday, 11/26. Saturday’s lecture focuses on the Digital Age of the Art Market and will be led by Ms. Yixin Wang, and the closing celebration features a violin performance by Anna Tsukervanik and live action by Katya Grokhovsky (7 pm).
We’re out here – from an insider’s look at up-and-coming contemporary artists, to intimate studio visits, to behind the scenes sneak peeks at exhibitions around the world, we are sharing the Next Thing in art with you.
From contemporary galleries to street art festivals, ANTE. takes you to where the action is.
Creative fields are integrated in the arts, and vice versa, so we take time to check on our cousins. What emerging fashion designers are slaying at Paris Fashion week and why have runways shifted outside to the Bois de Boulogne? We dive into infographics for the contemporary reader, touch base with boundary-pushing musicians and check out the best in multidisciplinary music festivals (all eyes on you, Panorama.)
We are ANTE. Join us and find out what the hype is about.
With his measured words and assured demeanor, Delano Dunn’s calm presence stands in contrast with his fiercely vibrant artworks currently on display at Long Gallery. No One Can Be This Tomorrow, Dunn’s current exhibit with the gallery, displays the hope of empowerment embodied by Dunn’s portraits of black women, men, and family depicted upon layers of technicolor mixed media. Recently the artist took time to walk through his exhibit and discuss this series along with influences that have shaped Dunn’s artistic practice.
ANTE. Thanks Delano for meeting to discuss your work today. Can you start by giving us an overview on how your career as an artist has developed until now?
Delano Dunn. I’m originally from South Central LA, and lived there through the (Rodney King) riots in the early ‘90s. I came to Pratt in Brooklyn in 1997, studying to become an illustrator. Originally I was influenced by comic books (I started making comic book art when I was young) and went to Pratt with this in mind as a career. Freshman year at Pratt I switched focus to illustration, looking to make a career in editorial illustrations. I began to focus primarily on making art on a regular basis in 2007, working on new works in between other responsibilities. I recently completed my MFA from the School of Visual Arts*, making the switch to becoming a full-time artist. (*Dunn is modest: he completed his MFA with the honor of receiving two awards from SVA, the Edward Zutrau Memorial Award and the Alumni Society Thesis Award. – AP)
ANTE. So attending SVA was a point of entry into the art world full-time?
DD. Actually, I was working at the Whitney Museum of American Art prior to SVA. Working with the museum and becoming familiar with the various materials used throughout the building influenced my practice. That, and seeing my grandfather work.
ANTE. What did he do?
DD. He’s a jack–of-all trades. He always had old tools and equipment lying around, so I got to play with spare parts and electronics.
ANTE.Definitely sounds like a source of inspiration – I had a similar experience with my family having a shop of old equipment, where my folks would weld.
DD. It just opens up a whole new world of possibilities.
ANTE.Can you walk through this series and your recent body of work, In Our Time? What has shifted as you moved into working on No One Can Be This Tomorrow?
DD. Sure – for this series, I started focusing on research at New York Public Libraries, particularly the Schomburg Center, last Summer with production beginning in the Fall. The images included in this series span from drawings from the abolition period on to photographs from the 20th century, including portraits and caricatures. A large focus for this series was making women and girls visible in the work. This is probably a reaction to having a daughter now; that, and I feel I’ve focused substantially on the black male experience in previous work. In the work (need name of superhero work/Genesis) the androgynous figure is a female Tron, subverting expectations placed on the superhero genre.
ANTE. Your works seem to have shifted from the previous series that emphasize autobiographical elements, such as Everyone Digs Delano Dunn, to research-based methods. Was this a conscious shift as a result of your MFA studies, perhaps?
DD. There is some overlap (of these two themes) through my work over time, and in many ways, my older work is in dialogue with autobiographical themes, like growing up in LA and not being black enough, liquor store ads in the community, etc. There has always been research in my work, however; this is something I was already doing when I started pursuing my MFA. These studies allowed me to further broaden this part of my practice, making me willing to go headfirst into the research with renewed vigor.
ANTE.Speaking of influences from your earlier years, you mentioned comic book art. Do you have any notable influences from this genre along with contemporary artists that have informed your practice?
DD. I definitely draw from both worlds. On the comic book side two icons are Greg Capulo, the artist for the Spawn and Batman comics, was an early influence along with Rick Leonardi of Spiderman 2099. Contemporary artists – there are so many it’s hard to name them all… Mickalene Thomas, Theaster Gates, Glenn Ligon, Robert Rauschenberg and Richard Diebenkorn, to name a few. Also writers are a major influence on my practice, especially Toni Morrison and James Baldwin.
ANTE. Writers, interesting! That speaks to the profound sense of humanism emanating from your work.
DD. Thanks, as much as I enjoy abstract work I feel compelled to be able to relate to the work itself, and feel compassion. This arises in the form of human interaction. Writing has a lot to do with that…I really do want to communicate that to people. Some of that illustration practice still lingers, I guess.
ANTE.The content of your works makes an impact, and the textures and tones of the materials are equally fascinating. Can you talk about the source of your materials for this series of work, how you select them and their significance?
DD. There’s a real layering of histories and eras inherent to these works. For the wallpaper included in these pieces, this is sourced from a church that historically welcomed refugees in Grand Rapids, MI. This material thus has a loaded history that responds directly to the election. The colors included in many of these works span the rainbow, which is intentional: when you examine a rainbow, it’s meant to stand for acceptance, for hope and diversity, and yet the rainbow itself is an optical illusion. You can’t touch a rainbow. This election, so much positivity, hope for a diverse presidential legacy – potentially going from the first black president in the white house to
the first female president – was stifled. I see this as a real blow to women. We now have an oppressor who’s wiping out the identities and importance of female figureheads, and by depicting these women throughout this series of works I’m hoping to reclaim these identities in a sense.
ANTE. This idea of legacy is interesting to me – do you feel like through history, things haven’t really changed or progressed as much as we believe they have?
DD. I think things haven’t changed, but they have been re-branded, from emancipation through Jim Crow and the Civil Rights Era…it’s always seemed like things have changed, but they really haven’t. There’s not any less of a problem, just different problems. It’s sad in a way; there’s a feeling that in this time period when we could’ve had real advancement we really haven’t. It’s ridiculously that there hasn’t been a female president. When you look at the space program the USSR helmed they included women and black astronauts before the US did – we don’t live in a post-black or post-gender era, not in the slightest. -ANTE.
Delano Dunn will be in conversation with Khalil Gibran Muhammad at Long Gallery from 6:30 pm – 8:30 pm on Monday, March 27th produced by Sanaa Contemporary. To attend, please RSVP to: email@example.com