The Daily Photo + Links
Photo by Eric Wolman Figures of an Infant Jesus, Dressed for a Feast Day [NYT] A Month-Long Farewell for Rose Live Music [WSJ] M. Stansberry hustles DVD of animated series ‘Puddin’ in subway [DailyNews]…
Under the Rader: Staking Out the Kent Ave Power Plant
How does one walk up in to a power plant? I walk west, headed to the East River. Pass Kent Ave. See the graffiti rabbit on the corner of Metropolitan Ave., partial spine exposed. See renderings of totem-like birds. I hit River St.by the Grand Ferry Park. Hear noise to my left, go right, to the gates of the Kent Power Project.
OMMMMG: So Many Yoga Studios in the Neighborhood – Part 1
My Zen is at the peak of productivity. Between morning and afternoon meetings, doctors appointments, a run at the gym, jazzed up on cappuccinos, deadlines looming, I take a minute to focus on my breath, I inhale the city’s car-fumed air … Blackberry still in hand, podcast tunes pumping through my brain, scanning the daily paper … and I exhale. OMMMMMMmmmm.
Cinema On the Waterfront: The Fabled Backstory of indieScreen
It’s not every day that someone declares that he wants to build a theater, so when one actually gets built, it’s truly a romantic thing.
99% Gallery, 100% Vice: The Artist, His Gallery, A Glossy Mag, Their Landlord
When Mikal Hameed opened up 99% Gallery and Art Center in Williamsburg in June 2010, it took off, presenting seven shows in six months showcasing prominent under-ground artists to large crowds, all while becoming the latest de facto haunt for Brooklyn’s cultural extroverts. By December, almost as swiftly as it emerged, 99% Gallery was closed. In half a year, Hameed launched and shuttered the promising business he built from scratch, lost his family, became the victim of possible embezzlement, and was forced to negotiate just to keep a roof over his head.
Reality Bites: The Too-True Art of Andrew Ohanesian
Andrew Ohanesian doesn’t just create art; he creates art that passes for reality. The 30-year-old Bushwick transplant—when he isn’t working at his “day job” as studio manager for NYC-based new media artist Jon Kessler—is busy in his studio (site of such detritus as a working stove, piles of raw lumber, a man-sized safe, and dismembered mannequins), plotting out how to best create his next, accurately textured, convincingly lit, art installation that feels, looks, and smells so real, it blurs the boundaries between art and life.
