Pako Campo – Spain’s Krayola Kolor Kid – takes Art Expo NY by Storm


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Pako Campo is  the Krayola Kolor Kid who took New York by storm at Expo Art NY last year, landing his work in a museum. Who this year has received one of Expo NY’s highest awards for a stunning 1×2 meter work strategically, and proudly, positioned at the show’s entrance. Last year he received the arts award from his region in Spain, La Rioja. And next year he’ll receive the International Award in Raffaello in Bologna.

paco NYCWhat can you say about the show’s only only independent artist from Spain ? About an artist who has riveting videos on YouTube and Vimeo of him making color and line tell stories we all knew but had no vocabulary to tell them with? And what color! what line! The Rainbow Empire and #NovaY take perspective, twist it, and dive into it; he uses that as well as simply an artistic device – reminding us all that photography and art are – and should be – far apart.

Take a look at two-minute videos online of painting via these links:

– #NovaY timelapse (2018) is

– Rainbow Empire (2015) is

– Hong Drone I (2016) is

– Hong Drone II (2017) is

– Hong Drone III (2017) is

I’ll be doing a post about the use of painting videos by him and by two other artists I discovered at Art Expo NY this year. And last year Paco did a fun one-minute video of what going into and exploring Art Expo NY is like (for you still have today to take it in); it can be found at I cannot recommend strongly enough taking in this jubillant, creative, and at times just plain fun show. This is what art is all about: celebrating what makes us human, which usually starts with a shout or laughter.

With his hair and his life as much his canvas as anything else this man’s life is a work of art – especially when you realize he’s into graphic art, photography, voiceovers, and acting. He started painting at 8 and was his first collective exhibition when he was 9 – 25+ years ago. And yes, a documentary is in the works. All this makes me wonder if Spain’s long line of strong, individualistic, in-your-face artists were as daring, forceful, and lyrical as him?

Spanish artists have always commanded our attention and helped our eyes see life’s realities and truths afresh. Picasso, Dali, Miro, Gris and Goya: all are known for their innovative, challenging, in your face technique – and now so is Pako.

Keep your eye on him. And snap his work up before the museums continue grabbing it. And get to know him. He sees his work as collaboration with the viewer. Join in the fun!

Japanese art and NYC’s parks


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Today (Sat April 21st 2018) was the Cherry Blossom Festival on Roosevelt Island. Though there are few trees, they’re located right opposite the Renwick Hospital Ruins, on the way to the Island’s famous FDR Park – designed by Louis Kahn. The program ran from 12:30 – 5pm, and included dance, Shamisen, a Japanese String Ensemble, and the Japanese Taiko Drummers. The island’s Wikipedia entry is replete with history.


Rahim Chagani fitting right in

Brooklyn’s Botanical Garden’s Japanese Garden’s cherry trees are all in full bloom now. All is conveniently coded and mapped out: The rest of the Garden’s trees will be in bloom during the weeks ahead. Instead of a program, the Garden has instead to have Family Discovery Weekends through June 3rd (but not Memorial Day).

NYBG has over 200 cherry trees and an online Cherry Blossom  Tracker – which as of this posting is 50% of the way to Peak Bloom.

Central Park’s cherry blossoms have resulted in a special $1145 package at the Ritz-Carlton hotel. Otherwise googling those key words brings up Macon GA’s central park and its cherry blossom festival – featuring a human cannonball.

Branch Brook Park’s bloomfest is in early April (1-15th) – though this weekend, the 21st, it’s at its best. It features cell phone touring of 72 key spots in the park by dialing, 973-433-9047 + 45-minute guided tours can be arranged. And it’s all near Newark or but a few miles from Lincoln Tunnel. It is The Star of not just the NYC area for its 360 acre park,  designed by Olmsted as was Central Park. But Branch Brook Park has 4000 cherry trees – greater than Washington DC’s 3750 trees. So why go to Washington DC? Especially since DC’s peak bloom date, established by the national park service, was April 4 this year.

A different take on AIPAD, NYC’s yearly photo show


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    Just think about it. What all of us have in common, what all of us can do without help, what is an absolutely direct experience? to be struck by, and admire, a photo. Art by comparison begs for mediation, interpretation – or a suspension of judgment.
    A photo is just there. Photos tie into deep human needs & wants: to see the unusual, the foreign – to see life at an angle. It permits us to see different worlds – blacks, Indians, Asians, gays, happy people, disaster-struck people – and of course the built environment, nature, or areas of the planet we’d never be able to step foot in.
    One extraordinary book in the publishers section at AIPAD is Iceland II. Iceland I is a typical photo book, squarish. But Iceland II enables us to see super-wide-angle, 10×20 approx. A big thank you to the photographer who invested in and lugged around such an ungainly tool for seeing differently around such a starkly beautiful land.
    In fact most of the sleepers at AIPAD are in the nonprofit/publisher section (publishers are a form of nonprofit organization come to think of it….). Picturebooks. Each of the magnificent photo shows here – masquerading as books – is a booth in itself. By my computation if you hung out and stayed in just this small section of AIPAD you’d be seeing a show 2-3-4 times the size. And you’d be able to view each photo much more appropriately and conveniently – at your angle, for as little or as long as you’d wish. And move from “booth to booth” in seconds. What a pity there are no chairs provided to see ease the acquisition of such wealth.
    If you like Iceland II take a look at the online Photo Guide to Iceland, an e-book by Hawk and Finn – 148pp of dramatic photography, available as spreads or single pages in Acrobat Reader for free. And talk about help! Take a look at Forever Light: The Landscape Photographer’s Guide to Iceland (2nd edition). It features in detail the 30 best locations (including GPS coordinates and camera settings) plus 20 more ideal spots.
    PPS Have you ever thought why video is totally absent from a pinnacle show like AIPAD? or Instagram? two forms of picturing that have both proved themselves and are now here to stay?

A glimpse of Amsterdammer photography


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Having spent 47 summer vacations in Amsterdam, in June, before the galleries close up, virtually all my art time went straight into the arms of photography. Of all contemporary arts Amsterdam has given photography first place in its heart. The nonprofit FOAM is the first institution that comes to mind. It occasionally visits New York City – but only at the rough art outpost at Red Hook. The best art gallery in Amsterdam by far is the Eduard Planting Gallery of fine art photography – Here’s one forceful argument as to why:

The Met Breuer’s Mission: Depth, at last


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    Most of us at this point are scratching our heads at what the Met wants to accomplish in acquiring the Breuer.

Its first shows seemed like an attempt to be yet another modern art museum.

But that got shot down immediately by the Whitney’s brilliant reinvention of itself as a true anchor of the phenomenally popular High Line – which in turn has incubated an entirely new luxury coastal community of condos with water view. It has finally discovered the true mission of its founders: to be New York’s celebration of modern art.

And MoMA’s first full-floor show of Adrian Piper’s life as works of art is but a preview of their building immensely new capabilities right on 53rd Street.

No, “breathtaking” is an adjective owned by these two office holders of the Modern Art position – at least in New York.

And the current show Life Like reveals more clearly where the Met’s strengths lie, and how it intends to flex its curatorial muscle.

“Comprehensive” is the descriptor that comes to mind. As in its recent shows this is clearly where the Met excels. Fleshing out the show’s Life Like theme creates an exhibit that feels like a walk in the park.

All eras, all approaches to sculpting the human form appear here – from Jeffrey Koons to Madam Tussaud. Including Alphonse Lami’s skinless reveal-all Man and the first-ever excursion outside the UK of University College London’s Jeremy Bentham’s clothing hung on his actual skeleton.

In fact the only odd note is the Nigerian artist Sokari Camp’s caricature figures which are like a solo act out at an otherwise consistently diverse vaudevillian conclave.

The question remains for the Met – especially now that they’re charging full freight from non-New Yorkers can being the art world’s attic become a mission, a clarion call to revisit Art one mo’ time? The answers the Met appears to have chosen are increasingly Entertainment and Education.

The increasingly British bent of the Met’s curators both in their origins and in their increasingly didactic tendencies obvious by the time one gets by the second or third gallery. The reasons for works being included in the show is made at times all too clear.

Education may sit well in their board room, and certainly is popular with their powerfully endowed curatorial staff – but entertainment? in one of the entertainment centers of the world?

The NY Times reviewer of the Life Like show, Roberta Smith,  – – wonders aloud at the end of her review whether the Met is hereby launching an “at-home version of the international biennial, something with the combination of buzz, entertainment and historical seriousness that appeals to all levels of art appreciation, pro and layman.”

I disagree. Biennial-type shows draw from horizontally – from current times – whereas the Met draws vertically each step of the way, and often with side by side comparisons and contrasts. Biennial shows offer breadth; the Met offers depth. Besides, the Whitney’s biennial shows almost inevitably flopped or at most elicited uproars. It’s probably best that the Met stick to its own knitting and make the most of its best – and its best is that it has riches of the past beyond any other art mecca in the world.

Joan Mirviss & her artists: a “diamond mountain” pinacle of Asian art

Asia Week presents a unique challenge and unusual advantages to the afficiandos, collectors – and press. The empress of the art press, Marilyn White, organizes a whirlwind tour of 40+ galleries for the press to get 5-15” snippets of the each gallery’s top presentations.

But even with the advantage that most Asian art galleries seem to be on the Upper East Side of NYC, in the 60s through the low 80s, such compressed viewings with little time to breath can give “Asian art indigestion”.

So what does one do? go like the rest of us to the formal openings and see what still shines – and what has lost its glamour. And rely on the NY Times.

It all started this last preview week on the 14th in the Times review of “Asia Week’s Rare and Unusual Objects for Art Lovers and Collectors by Will Heinrich. The high end of the Asian Art spectrum is of course held up by the three-legged stool of Japan Society, Asia Society, and the Met Museum. The Met alone has seven Asian art exhibitions currently. In February, the NY Times reviewed the “Diamond Mountains” show at the Met’s Korean Art gallery – underwritten this year with $1 million from South Korea – one of the few countries to ensure their art has gallery space and a steady flow of key shows year round. (

In Heinrich’s March 14th preview of Asia Week in the Times this last week, the lead star – the lodestar – of the NYC Asian art gallery scene is the incredible selection of three of the top treasures of Japanese pottery made by Joan Mirviss. The Times made the winner of this art race clear: Mirviss and her gallery at 39 East 78th Street. And if there were any question her show led the pack in the Times’s The Listings on March 16th – their pick of the top 21 gallery shows to visit.

Mirviss doesn’t just represent her artists. She goads, encourages, and challenges them to produce more than they’re used to – some produce but a few pieces at a glacial pace. She is as much the artist as they are – especially in her complementing these shelved masterpieces with hanging masterpieces. (In fact in an interview she volunteered that she – and many of the collectors she serves – started with hanging Asian art – and that the two have now come together. A cursory examination of their beauty – and their price tags – reveals that in fact those hanging works of art are now nearly equal in value to her selections of pottery.

Her Asian wall art has a unique quality that is rarely seen – even in America’s museums. They cannot be adequately described by ascribing them to schools and trends. The interesting fact is that that for her and her collectors this hanging art was but her warmup. Now, though the spotlight is on the ceramics, both complement each other and are on equal footing.

The proof of the pudding is of course in the eating. And her banquet of national treasures was two thirds sold before even opening. Her taste has decades of proof in being impeccable. The major collectors of Japanese art world wide and certainly in America have depended on her judgment and recommendations. She has the midas touch.

With her touch she has moved way beyond a middleman role to being a proactive inspiration for both her artists and her collectors. She leads the parade – and the trade – loudly and forcefully – in her selections and in her price tags. For one thing many of the works in this year’s show would never have seen the light of day were it not for her pestering, reminding, and encouraging these masterwork artists.

Where she really married her mind to her heart was in her selection of only the top ceramic artisans – Japan’s potters – and in her encouragement of them to excel even the most esteemed levels of excellence they’d achieved before.

She is now riding the crest of a wave she created. “What can I do now?” she wailed on the eve of the opening night of her latest and most incredible show.

To which I replied, “Ride the crest of the wave… You’ve no need to outdo what you’ve done. All you need now is ride the waves and bring the rest of the collectors and these national living treasures along with you. They, and you, will enjoy the ride immensely. For now all of you, after having worked together these many years, will enjoy the realization that you have achieved the pinnacle of what was possible – and in riding that wave you have laid a foundation for incredible art to come.”

This show – her selection – is, as the NY Times has observed and concluded a pinnacle of Asian art. One of its “diamond mountains”. First her show was included in the Times article as only private show amidst the museum glut of Asian Art. Then the show was singled out as the pre-eminent gallery exhibition of 21 exhibitors this week of Japanese art. Truly it is the single most important event of Asia Week in all of New York City.

Mirviss selections are beyond comparison. This is truly the only show in town.

Reflection on a bad show of bad art

  Originally I was going to write about a show at the Met last Winter. But since this was but an aberration in what has been a consistently excellent string of victories  the show shall remain nameless. Just ask yourself, if you read the rest – have you ever thought this after seeing a particularly tasteless, vapid, worthless exhibition of bad art?
  Gradually sharing our individual discoveries that the emperor was wearing no clothes. The show was impeccable as a managed event. But it’s philosophical underpinnings were absent – philosophy has gone missing in the war of commerce and consumers.
  Thank god our education had a foundation in philosophy and our education was molded by those for whom philosophy was a discipline of the first order.
  Being managed well is now among the primordial values. Meanwhile we have forgotten how to live well, how to be well, and how to treat our brethren well.
  Art used to be based on life’s values, questions such as why – not how. Beauty was valued for its own sake, proportion was valued for how it felt so good, and all art told a story with a point.
  Pointlessness, chaos, and the delirious were pitfalls – not pinacles – of human achievement. This is a show from the madhouse – the madhouse of the post-war era – where minds, values, and reason were not only lost but despised, destroyed, and debased.
  Perhaps appropriate for a history museum? actually not – appropriate for a history lecture, about the abyss, the madness, and the ugliness of mankind gone made after having lost their reason – so having done so impulsively went beyond the limits of all value and values, including reason.
  Let us not celebrate the detritus of destruction, let us not commemorate the insanity of man’s inhumanity – to man, to our environment, to our relationships to each other.
  Let us search out those gems of beauty, exquisite satisfaction, and delightful humanity. We have a choice: this, or that – in the next 10 minutes. Life is too short to spend time on where we failed, flailed, and fell.
  The true delirium is that the world’s greatest art repository should focus on the greatest threat to art, on a period where madness reigned, on people lost in wildness, wilderness, and woe.
  This is not a show worthy of the Met Museum. This is a triumph of academics, curators, and critics. There is no art here. There is only the death, disease, deterioration – and, yes, delirium – of the overeducated, too removed, and insanely misdirected.

The Wealth of Art that is NYC

The detailed list of art events on

When I woke this morning and checked out Larry Qualls’s incredibly detailed blog listing the day’s events – which appears each day of the year at about 7am – I was dumbfounded. Not only has NYC outdone itself in its wealth of art openings, talks, and performances Larry’s coverage reaches as far as Yonkers’ First Thursday and Dumbo’s First Thursday. Should anyone need a reason to move to NYC, or any New Yorker need a reason to look forward to this evening, here’s a gracious plenty of all that makes art – Art – in this city.

Art & Design Events, New York, Thursday, 1 March 2018

XO Group 195 Broadway panel: Choice architects: design for humanity’s best self Lauren Bugeja, Diana Gonzalez, Jennifer Garfield, Elayne Safir 6:30-8:30
Studio Anise // Rolf Benz 21 Greene St exhibition: Michel Friess 6-9 rsvp
Maiyet 16 Crosby St talk:Sacred Beauty Collective Spring Preview Makeup Artist, Natural Beauty Expert, and Sacred Beauty Coach Rebecca Casciano and Stáe Natural Beauty, in honor of Women’s History Month; healthy beauty bites and sips from Rawclates, Pukka, Health-Ade Kombucha, and Mary Chan Wellness. 6:30-8:30 free, rsvp Eventbrite
Drawing Center 35 Wooster St panel: Wynter-Wells Drawing School for Environmental Justice Ekene Ijeoma, Ron Morrison, Mabel O. Wilson, moderated by Rujeko Hockley 6-8 free
Fringe Salon 248 Broome St art exhibition party:  Andrea Burgay Cut Me Up 7:30-10
Dahesh Museum of Art 145 Sixth Ave talk: Constance McPhee Shakespeare and Art: Images of the Author and his Plays free 6:30
Sous les Etoiles 100 Crosby St #603 exhibition: A Slight Shift Charles Pétillon, Javier Riera, Barry Underwood 6-8
Louis K. Meisel 141 Prince St exhibition: John Salt Recent Paintings 6-8

Central Booking 21 Ludlow St exhibition: Margot Niederland Assemblages 6-8
Richard Taittinger 154 Ludlow St exhibition: Untitled (Monochrome), 1957-2017 curated by Gregory Lang 6-8
Sargent’s Daughters 179 E Broadway exhibition: Jackson Hallberg Deep Power presented by Duplex 6-8
Jane Kim/33 Orchard 33 Orchard St exhibition closing party: Indian Drawings selected by Jane Kim & Alexander Gorlizki 6-8
47 Canal 291 Grand St exhibition: Elle Pérez Bloom 6-8
ICP Museum 250 Bowery ICP Lab performance: Guy Martin The Parallel State 6:30-8:30 free, rsvp requested
frosch&portmann 53 Stanton St exhibition: Dennis Dawson Sourmash, with Carlos Charlie Perez 6-8
Eric Firestone 4 Great Jones St #4 exhibition: Joe Overstreet Innovation of Flight: Paintings 1967-72 curated by Horace Brockington 6-8
Aicon 35 Great Jones St exhibition: Hyperreal Jaishri Abichandani, Saks Afridi, Marcy Chevali, Mariam Ghani, Nitin Mukul, Aakash Nihalani, M. Pravat, and Salman Toor; Arunkumar H.G In-Site 6-8
Fortnight Institute 60 E 4 exhibition: Ewelina Bochenska A Hole was Placed in the Sky and Sealed with Water 6-8
Downtown Art 2nd Floor Studio 70 E 4 SI Offsite performance: Lunar Interval IV: Full Moon Aria Dean Get-Together: A Tragedy of Language 7 rsvp essential
Center for Architecture 536 LaGuardia Pl Oculus Book talk: The Arsenal of Exclusion & Inclusion (Actar, 2017) with the atuhors: Tobias Armbor, Dan D’Oca, Georgeen Theodore, 6:30-7:30 free
Salmagundi Club 47 Fifth Ave exhibition reception: Greenwich Village: People, Places, & Things 6-9
Allouche 82 Gansevoort St exhibition: Jessica Lichtenstein Eclipse: Out From The Shadows 6-9
Pratt Manhattan 144 W 14 exhibition: Albers, Lustig Cohen, Tissi 1958-2018 curated by Phillip Niemeyer 6-8
National Arts Club 15 Gramercy Park South reception and awards ceremony:  118th Annual Exhibiting Artist Members Exhibition 6-8
Praxis 501 W 20 exhibition: Platz Saturn 6-8
Ozaneaux ArtSpace 515 W 20 4E exhibition: Chantal Bruchez-Hall Seeing Red 6-8
Ricco/Maresca 529 W 20 exhibition: George Widener Magic Circles curated by Frank Maresca 6-8
Tim Rollins 529 W 20 exshibition: Manuel Ocampo Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am! 6-8
JanKossen Contemporary 529 W 20 exhibition: Hannah Quinlivan impulses, restraints, tones: New Compositions 6-8; performances each day of exhibition 1-3
Dedalus Foundation 25 E 21 4th Fl  conversation: Working Through Influence:
A Conversation with Artist Angel Otero; Christian Viveros-Fauné speaking with Otero 6:30-8 free, reservation required
SVA Visible Futures Lab 132 W 21 exhibition: Jonathan Sims  7-9:30
SVA 133/141 W 21 8th and 9th Fls MFA Fine Arts Open Studios Spring 2018 5-9
Sikkema Jenkins & Co. 530 W 22 exhibitions: Deana Lawson; Maria Nepomuceno 6-8
Allan Stone Projects 535 W 22nd Street 3rd Fl exhibitions: Draughtsmanship: Selected drawings from the Allan Stone Collection; Bo Bartlett Dreamland
The Bee in the Lion 310 E 23 exhibition: Arslan Tremor curated by Bee Tham
Margaret Thatcher Projects 539 W 23 exhibition: Nobu Fukui Paradise 6-8
De Buck 545 W 23 exhibition: Gommaar Gilliams Jenny Kissed Me 6-8
Lyons Wier 542 W 24 exhibition: Fahamu Pecou M E M O R Y 6-8
Bryce Wolkowitz 505 W 24 exhibition: Niko Luoma Proximity 6-8
Marianne Boesky 507 W 24 exhibition: Claudia Wieser Chapter 6-8
Marianne Boesky 509 W 24 exhibition: Barnaby Furnas Frontier Ballads 6-8
Lennon, Weinberg 514 W 25 exhibition: Greg Lindquist Of ash and coal 6-8
Bowery 530 W 25 exhibition: Dena Schutzer Wash & Fold: Recent paintings and etchings including scenes from a Yonker laundromat 5-8
Prince Street 530 W 25 exhibition: Gerald Marcus New Work 5-8
Blue Mountain 530 w 25 exhibition: Alakananda Mukerji Anonymous Moments 6-8
532 Gallery Thomas Jaeckel 532 W 25 exhibition: Per Adolfsen The Ribbons That Tie Us 6-8
Bernarducci 525 W 25 Grand Opening Exhibition: New Precisionism Part 2 6-8
Printed Matter 231 11th Ave launch: Space Sisters Pressc, conversation with Suzanne McClelland, Amy Smith-Stewart, and Gretchen Kraus 6-8
Rizzoli 1133 Broadway book conversation: Crafting Minimalism: Human Space in a Digital World Dan Howarth, Magdalena Keck, and Tiziana Proietti on Pied-à-Terre: Interiors of Magdalena Keck receptionn 6, conversation 6:30 rsvp
International Print Center New York (IPCNY) 508 W 26 New Prints Program 6-8
Fergus McCaffrey 514 W 26 exhibition: Kathleen Jacobs Drems 6-8
BravinLee programs 526 W 26 exhibition:  Douglas Florian 6-8
Opus Project Space 526 W 26 #705 exhibition closing: Jonathan Feldschuh Particles 6-8
Mitchell-Innes & Nash 534 W 26 exhibition: Jay DeFeo Outrageous Fortune: Jay DeFeo & Surrealism 6-8
Steven Kasher 515 W 26 exhibition: Anja Niemi She Could Have Been a Cowboy; Michael Spano Urban Report 6-8
Friedman Benda 515 W 26 exhibition: Chris Schanck Unhomely 6-8
George Adams 531 W 26 exhibition: Gregory Gillespie Mind/Body/Spirit 6-8
Pavel Zoubok 531 W  26 exhibition: Piecework Vanessa German, Joe Lewis, Diane Samuels, Donna Sharrett, Stephen Sollins 6-8
Painting Center 547 W 27 exhibition: Cultivate Your Own Garden Cecile Chong, Elisabeth Condon, Daniel Dallmann, Carlo D’Anselmi, Lois Dodd, Ashley Garrett, Xico Greenwald, Eric Holzman, Wolf Kahn, Judith Linhares, Carol March and Ruth Miller, curated by Patricia Spergel & Shazzi Thomas 6-8
Emmanuel Fremin 547 W 27 exhibition: Reka Nyari Valkyrie Ink 6-8
Paul Calendrillo​ 547 W 27 # 600 exhibition closing: Christian Brandner 6-8
Viridian 548 W 28 exhibition 30 Under 30 Catherine Armistead, Daniel Ashley, Min Baek, Kimberly Barnes, Darla Barolini, Nicole Basilone, Julia Betts, Ashley Bouton, Amelia Calsi, Mei Fung Elizabeth Chan, Yu-Ting Cheng, Courtney Clegg, Renee Cuny, Camilla Marie Dahl, Alyse Delaney, Marcus DeSieno, Victoria Ermler, Kyle Hackett, Zhongwen Hu, Maria Kostareva, Giulia Livi , Graham Livingston, Kenish Magwood, Maya McCoy, Guy Miller jr, Hyungjo Moon, Rajab Sayed, Claire Stankus, Teona Yamanidze, Katrina Slavik, juried by Chrissie Isles and Vernita Nemec 6-8
Heller 303 10th Ave exhibition: Martin Janecký Dia de Muertos 6-8
Cristin Tierney 540 W 28 exhibition: Hard Edges Lorser Feitelson, Elise Ferguson, and Alois Kronschlaeger 6-8
EFA Blackburn 20/20 323 W 39 exhibition: Michael Kelly Williams Impressions: My Life In Ink –Works on Paper 6-8

Fountain House 702 Ninth Ave exhibition: About Face curated by Sasha Nicholas 6-8
Anton Kern 16 E 55 exhibitions: Chris Martin; Sarah Jones 6-8
the Quin 101 W 57 exhibition: New York Academy of Art as curated by DK Johnston & Heidi Elbers Tamalin Baumgarten, Shauna Finn, Alexis Hilliard, Gianna Putrino, James Razko, Nicolas V. Sanchez, Gabriel Zea 6-9
Hirschl & Adler 41 E 57 exhibition in new space: Bread & Salt
MAD Museum 2 Columbis Circle exhibition: Unpacking the Green Book: Travel and Segregation in Jim Crow America curated by  Samantha De Tillio; La Frontera: Encounters Along the Border co-curated by Mike Holmes and Lorena Lazard with Barbara Paris Gifford and Angelik Vizcarrondo-Laboy
Mary Boone 745 Fifth Ave exhibition:  Carrie Moyer Seismic Shuffle 5-7
Newel 306 E 61 tableware collection introduction: The Silver Peacock 5-8 reservation
Society of Illustrators 120 E 63 graphic novel exhibition: The Art of MARCH: A Civil Rights Masterpiece curated by John Lind and Charles Brownstein, with exhibition text by Jonathan W. Gray 6-9 $10 suggested
Blum & Poe 19 E 66 exhibition: Kishio Suga
Petzel 35 E 67 exhibition: Sean Landers 6-8
Hunter College Leubsdorf Gallery 695 Park Ave exhibition: Juan Downey The School of Survival: Learning with Juan Downey curated by Javier Rivero Ramos and Sarah Watson 7-9
Istituto Italiano di Cultura 686 Park Ave discussion: Italian Design Day Mario Cucinella and Paola Antonelli 6 free
NYU Institute of Fine Arts 1 E 78 Seminar on Greek and Roman Art and Architecture lecture: Alessandro Pierattini The Temple Before the Order: The Origins of Greek Temple Architecture 6:30 resrvation required
Galerie Buchholz 17 E 82 exhibition: Moyra Davey 1943
Neumann Wolfson 1046 Madison Ave exhibition: Louis Granet Free, Super fast !!!! 6-8
Permanent Mission of Bulgaria To The UN 11 E 84 reception: National Day Of Bulgaria 6:30-8:30 rsvp Eventbrite
Jewish Museum 1109 Fifth Ave walkthrough: Writers and Artists Respond Through the Veil Gabi Asfou and Claudia Nahson on Veiled Meanings: Fashioning Jewish Dress, from the Collection of the Israel Museum, Jerusalem 6:30-7:30 museum admission
Columbia University Prentis Hall 632 W 125 talk: Luke DuBois Sex, Lies, and Data Mining 10:30-11:30 free
Corner Social 321 Lenox Ave exhibition: Ruthy Valdez Female Blueprint 6-9

John Doe 112 Waterbury St Bushwick exhbition: Slow Motion Michael Chandler and Charlie Rubin 6-8
happylucky no.1 734 Nostrand Ave Crown Heights exhibition: Haptics Barbara Bertieri, Frid Branham, Kimberly Carmody, Lisa Cooperman, Joetta Maue, PD Packard 7-9

DUMBO First Thursday most galleries open6-8
 United Photo Industries Gallery 16 Main St exhibition: Tokyo International Photo Competition Ksenia Kuleshova, Erin Lee, Daniel Castro Garcia, Daesung Lee, Yuki Iwanami, Gowun Lee, Justyna Mielnikiewicz, and Carlos Alba 6-8
 New York Studio School Dumbo Sculpture Studio 20 Jay St #307exhibition: Objecthood Eva Jimenez-Cerdanya, Darrell Hostvedt, Mallary Marks, Marco Palli, Thomas Stavovy, Andrea Betty Vogel 6-9
 C.A.N.V.A.S / The Shops 145 Front St collection debut and live painting: ‘Rammer’ Martinez Ultra Violet Pilot 6 $5
 Made in NY Media Center 50 John St video reception: Digital Fairy Tales: Chinese Stories Rani Messias + Anna Leevia, Suguru Ikeda + Isis Salam, Nicole Antebi + Xiren Wang, Lian Mengzhuo + Kinga Toth, Nina Sobell + Laura Ortman, Làszlò Zsolt Bordos, Junjie Zhang + Theory, and Vivian Qin; presented with Leo Kuelbs Collection 6-8
 Asphodel 20 Jay St #837 exhibition: Stan Van Steendam new works 6-9

Small Editions 60 Sackett St Red Hook exhibition celebrating first six years: Show Your Hand Joeun Aatchim, Will Anderson, Andrea Bergart, Noah Breuer, Melissa Brown, Ellen Carpenter, Juliana Cerqueira Leite, Kari Cholnoky, Lauren Clay, Joey Cocciardi, Patrick Gantert, Daniel Glendening, Nicole Killian, Kimberly McClure, Molly McGeehan, Andria Morales, Sarah Nicholls, Brittany Nelson, Richard Nonas, Sheryl Oppenheim, Janelle Poe, Hayal Pozanti, Will Rahilly, Corina Reynolds, Beth Sheehan, Sarah Smith, Erin Sweeny, Mandy Vahabzadeh, Siebren Versteeg, Anne Vieux, Sun You 7-10
Interference Archive 314 7th St Gowanus talk: Sister Serpents founders Mary Ellen Croteau and Jeramy Turner 7-9

First Thursday Gallery Hop Yonkers Women’s History Month exhibitions 5:30-7:30
 Blue Door Art Center 13 Riverdale Ave exhibition: Women by Women
 Philipse Manor Hall 29 Warburton Ave exhibition: Lolita Browne Wise and Spiritual Symbols
 Riverfront Art Gallery Yonkers Library 1 Larkin Plaza exhibition: Unsettled curated by Haifa Bint-Kadi,
 US + U Art Gallery 66 Main St exhibition: Winter 2018 Exhibition

What kind of show gives you a smile?

The show at SalomonArtsGallery on Keith Kattner not only gives you a smile on your face, one that won’t go away until you leave this oasis of art – it gives you a glimmer, a peek at art that combines excellence  with modesty. The kind you see in the Asia galleries at the Met – as if those artists were painting hundreds of years later in these times.

Congratulations, and thanks are all I can say for this evening well spent.

Enjoy & benefit Ukraine’s color filled art

We all regret and are outraged at Russia’s rape of the Crimea. What better action, what sweeter revenge than to acquire a piece of Ukraine’s unmistakable art, a vibrantly colorful pleine aire rendition of its Carpathian majesty. By doing so you will benefit that wondrous temple of art,  the Ukraine Institute, located in one of Fifth Avenue’s remaining mansions at 79th Street. And reward this artist, Roman Luchuk for his paintings of the Carpathian Mountain Landscape, an artist  who has dedicated his life to passing on his skills and his vision to generations of Ukrainian artistis to come. Come, enjoy the joyful celebration of this splendid land through realistic yet imaginative and unmistakable color –  and ensure in some little way that it endures and survives the terror and rape of its majesty yet one more time in history by having it brighten your home.
You will be enchanted by the joyful and colorful swaths of color depicting the essence of the Carpathian landscape and its unique homes. I call Roman’s style expressionist impressionism – for he captures the essence of each feature of what’s depicted translating it with color. There is no doubt as to what’s depicted – and to its spirit, its true nature.
The Institute’s writeup sums it up: “Each of Roman Luchuk’s canvases evokes the splendor and energy of his native Carpathian Mountains in seductive compositions that exude a lifelong love for the mysteries of the Hutsul landscape. His iconic images express instinctive emotional experiences rather than impressions of the physical world. He does this through an extravagant use of paint and color. Expansive stillness and silence of the pastoral are interrupted by sudden outbursts of life and vitality changing from one mood to another.”

One third of the revenues for these paintings goes to maintaining this last of Fifth Avenue’s previous wonders – and the remaining amount goes to Roman’s work with Ukrainian art students to whom he has devoted his life. Ukraine is in peril and so is this 63 year old bastion of Ukrainian art. Do your part to at least save its art. That for me is a no-brainer: do well by doing good.