Amy Brener

Jack Barrett
173 Henry Street, New York, NY 10002
October 27–December 20, 2019

Patricia Domínguez:
Green Irises

Green Irises, Gasworks
155 Vauxhall St., London SE11 5RH
July 4–September 8, 2019

Open Weds–Sun 12-6pm

Chilean artist Patricia Domínguez explores healing practices emerging from the points where many worlds meet, clash and overlap as a result of colonial encounters. Rooted in the artist’s ongoing investigation of ethnobotany in South America, her first UK solo exhibition invites the viewer to envision possible futures for humans and plants thriving in the cracks of modernity.

The exhibition presents a multi-screen video installation alongside a series of altars and totem figures. Combining ethnographic surrealism and science fiction, Domínguez’s work embraces a range of myths, symbols and rituals shaped by extractivism and global finance, from the syncretic worship of Our Lady of Cerro Rico, an infamous silver mine in Bolivia where eight million natives died, to the archaeological museum inside Scotiabank’s head office in Cusco, built on top of the ruins of an Incan palace.

Heidi Howard
& Katy Cowan

Something of a Body, of a Tempo, Et al. / Et al. et
620 Kearny Street, San Francisco, CA 94108
July 20–August 31, 2019
Opening reception: Saturday, July 20, 6–9 p.m.


An Enormous Oar, Institute of Contemporary Art, Los Angeles
February 10–July 21, 2019

Brooklyn-based photographer Lucas Blalock (b. 1978) uses both traditional and digital techniques to create uncanny and surreal images of ordinary things. An Enormous Oar, the artist’s first solo museum exhibition, presents over twenty works produced in the last five years focused on still-lifes, domestic scenes, and portraits.

Precog Mag
LA Art Book Fair

We are heading out to the LA art Book fair!
The Geffen Contemporary at MOCA
152 North Central Ave, Los Angeles, CA 90012

Come visit us at table R14, April 12–14, 2019
Opening Night: April 11


Unearth, Bitforms Gallery
Opening: Thursday March 28, 6–8 PM

Unearth is informed by the mutability of the natural world. For her second solo exhibition with bitforms gallery, Sara Ludy applies attributes distinctive of her digital practice to sculpture. Transparent, enmeshed forms made of Waken Glass, a new medium developed by Upterior that unites glass and copper, transition immaterial elements of the artist’s visual language into three dimensions. The exhibition engages nature’s durational cycles of preservation and decay using real and virtual ornithological elements. A celestial union emerges, transforming the gallery into a hybrid aviary.

Subsurface Hell, Ludy’s inaugural solo exhibition with the gallery, presented a series of the artist’s investigations into organic environments. Clouds (2018) are a series of animated reliefs that render billowing canopies of water vapor into rhythm. The resulting landscape is mediated by generative motion of layered texture and color. New works in Unearth compound this methodology, casting abstract ephemerality into physical structures of Waken Glass. Perches (2018) appear empty, even vulnerable, floating in a tuft of blackened copper mesh. However, their glistening surfaces act as an offering, or site of potentiality that nods to the transience of the natural world.

As the exhibition continues, the spirit of an aviary unfolds. Nests (2018), sculptural habitats for imagined birds, sit opposite a live streamed projection of a nature cam. Frequently used for wildlife habitats or nature preserves, this video feed allows viewers to observe wildlife online. Trough 3 (2018) exists as a live streamed artwork, broadcast from a plinth in a nondescript high-rise. The sculpture remains unaffected as the world around it turns; birds soar to and from a neighboring sanctuary and the sun repeats its daily ritual of rising and setting. Trough 2 (2018) hangs from the ceiling in suspension. The artwork offers a similar experience to that of Perches and Nests—its silence calls for attention. Troughs inspire pause, a characteristic typically required for Ludy’s time-based work. Action is withheld from the artworks in an effort to accentuate the surrounding environment. The adjacent display of both Troughs further obscures the duality of lived experience and simulation. All streamed content is hosted online at

Felipe Baeza, Julia Bland,
Arghavan Khosravi and
Oren Pinhassi

Four, Yossi Milo Gallery
245 Tenth Avenue, New York, NY 10001
March 16–April 27, 2019

Yossi Milo Gallery is pleased to announce Four, a group exhibition featuring works by Felipe Baeza, Julia Bland, Arghavan Khosravi and Oren Pinhassi. All four artists in the show give form to personal experiences through material and color. Dusty pastels, velvety darks, and scuffed surfaces run through the works, inducing a contemplative atmosphere where subtle references to different histories and narrative can emerge. The exhibition will open on Saturday, March 16 with an artists’ reception from 6:00–8:00 pm and will be on view through Saturday, April 27.

Florencia Escudero

Marcela Flórido

Costilla de Adán (Monstera Deliciosa), Kristen Lorello Gallery
February 28–April 13

The gallery is delighted to present a two-person exhibition of Brooklyn-based artists Florencia Escudero and Marcela Flórido. Paintings and drawings by Flórido are paired with soft sculptures by Escudero. The exhibition developed from the friendship and critical dialogue that Escudero and Flórido have kept since meeting each other at the Yale University School of Art graduate program, which they both attended. Their works relate themes of constructed realities, female representation, and memory.

Escudero explores the notion of a fictive world through hand-sewn, digitally printed sculptures that parse elements of the female body, sometimes through proxies. Stand-ins include fashion accessories and doll parts. Escudero gathers imagery from digital space that relates to versions of fantasy and desire often circulated in mass media. Within her broader practice, Escudero positions the sculptures inside the rooms of 'love hotels' (which have fantastical and kitschy interiors designed to enhance the experience of lovers) and photographs them. This process helps her to think about how love can be redefined beyond the version of it that consumer culture presents.

Flórido's paintings of plants native to Brazil, and her drawings of the female portrait, convey charged energies and temporal states. The motif of the heart, traditionally a symbol of love and intimacy, accompanies the portraits of Flórido's women, creating an overall mood within each of her works. At times this symbol appears as the leaf of a plant, which in turn exhibits human-like qualities. Within her canvases, Flórido finds freedom to imagine the different ways that the body can inhabit physical space. This action mirrors an aspect of her own personal experience of adapting to various places where she has lived during her life and of rendering elements of her home country's landscape from memory.

The title of the exhibition, Costilla de Adán (Monstera Deliciosa) refers to the tropical plant depicted in Flórido's recent painting. It also points to the notion of Adam's rib, and the concept of woman as an assemblage of parts. For the artists, using parts of the female form within their own works gives them as sense of freedom and agency to develop their own narratives. As the artists write, "In the exhibition, these parts function as stand-ins for whole real women in the same way that memory creates a sense of reality which is distorted and fractured."


A Part of Things, Ochi Projects
3301 W. Washington Blvd, Los Angeles, CA 90018
January 11–February 16

A Part of Things is a sculptural series that plays with pareidolia, revealing our tendency to recognize ourselves in the landscape. Nestled within classically inspired forms, common beach stones hide human faces while gems or fossils emphasize erogenous zones. A Part of Things explores the body’s centrality in our anthropocentric understanding of the natural world and, in turn, the importance of nature in the formulation of our self-image.

Black Love Fest
NY, 2018

• Brought to you by The Black School
• Music direction by Vulgar Colors
• One day free art & music festival for all ages
• Sunday Aug 19, 2018 at 12:00pm - 5:00pm
• Sugar Hill Children's Museum
• Concert, DJ sets, merchandise & food vendors, art installations, and art workshops

Donate, Volunteer, More Info at:

For at least the past 20 years different organizations and individuals have been producing new iterations of Black Love Fest in cities across the U.S to highlight the importance of self-love and self-determination in our communities. In the summer of 2017 we were inspired by these many organizations and individuals to bring Black Love Fest to New York City with the first annual Black Love Fest NY at Brooklyn Museum. Black Love Fest NY is a free one-day celebration that builds upon work initiated in the The Black School by sharing student artwork with the community. BLF NY is a public event, creating a gathering space for all people who share in love for the well-being and self-determination of Black people. BLF NY will also include music performances, art installations by professional artist, hands-on art making workshops for all ages. The purpose of this project is to illustrate the positive impact of collective action.

If we had not loved each other none of us would have survived.—James Baldwin

Open Call

Camp Solong!

Open Call—Goodbye
August 10-13th, 2018

Camp Solong invites future campers to submit their applications for joining our immersive, performative outdoor summer camp, this year on Orr's Island, Maine, U.S.A. Open call ends July 1st. Yes, indeed! Camp Solong is happening again for the weekend of August 10–13th, 2018! We will host six campers (ages 25 +) for a unique, cathartic 3-day break from daily life!

As always, our camp program will focus on the universal task of saying “goodbye”, with a particular emphasis on letting go of a stagnant, and restricted sense of self. Anyone interested in rehearsing and investigating the process of “farewells", “personal reset” and “seriously playful introspection” would be an ideal participant for the camp.

Camp Solong is a collaborative gesamtkunstwerk and a form of heterotopia exploring alternative ways of living through play, fiction, self-sufficiency, and encounters with nature. Complete instructions on how to apply can be found at

In June, the camp headquarters will be located at SPACE gallery in Portland, Maine, and the camp itself will be built on location in Orr's Island. Camp Solong will host 6 people along with the camp directors, Dafna Maimon and Ethan Hayes-Chute. Each camper will have their own bunk bed in the camp structure, complete with a personal shelf, and a camper uniform. Food will be provided. Participation in the camp is free but travel costs are up to the campers.

There will be a 3-day program, culling from the artists' respective performative practices, including fun, crafty-and-healing exercises. Camp Solong breaks down the borders between experience, process and end result while dissolving the categorizations of viewers and participants audience and artists.

If you would make a great camper, apply now! Of course, feel free to get in touch directly, and don't hesitate to forward our open call!

Best Summer Wishes,
Camp Solong counselors,
Dafna Maimon & Ethan Hayes-Chute


True Level, Safe Gallery
1004 Metropolitan Ave, Brooklyn, NY 11211
February 16th–March 18th

Gallery hours are Saturday and Sunday noon to 6pm or by appointment.
For inquiries contact

Dalia Amara
& Olivia Swider

The Texture of Want, MOUNTAIN
284 Seigel Street, 1B, Brooklyn, NY 11206
February 24–March 17, 2018
Opening reception: Saturday, February 24th | 7-10 PM

MOUNTAIN is pleased to present The Texture of Want, an exhibition featuring artwork by Dalia Amara and Olivia Swider. The artwork on view explores constructions of femininity, vulnerable self-reflexivity, and fallacy in the truth of images. Both artists have a background in image-making and the study of photography, but the way they synthesize that knowledge into their respective practices varies. While Amara’s work functions in the realm of photography, the content and context takes a more sculptural/performative turn. Conversely, Swider’s practice incorporates physical works and found materials to ask new questions around what constitutes an image, appropriation/ authorship, and the documentary/indexical capabilities of objects and the stories they hold. Together, these artists present a fascinating look at a postmodern approach to capturing and creating an image.

Houa Her

My grandfather turned into a tiger, Midway Contemporary Art
527 Second Avenue SE, Minneapolis MN 55414
February 10–April 7, 2018

Pao Houa Her’s exhibition at Midway, My grandfather turned into a tiger, is comprised of a new series of black and white, color, and lenticular photographs conceived as an installation. Her uses images taken in Minneapolis/St Paul and in Laos, which she has visited several times in recent years. The title of the exhibition arises from family lore about her grandfather’s death during the Vietnam war. After dreaming of her husband leaving her once more the night before she was informed of his death, Her’s grandmother mourned him, telling the universe about their life together; the next morning she found a dead boar on her doorstep. There were sightings of a tiger haunting the village, and every so often the neighbors’ livestock would be left on her doorstep. This story about shapeshifting alludes to the themes of mythology and illusion found throughout the work.


Lacos, Anita Schwartz Galeria de Arte 
January 10th–Feburary 17th, 2018

Mostra individual com pinturas inéditas em grande formato da artista carioca, nascida em 1988, e baseada em Nova York.  Em 2008, estudante da Escola de Belas Artes da UFRJ, ela foi selecionada para uma bolsa na Foundation in Arts and Design na Central Saint Martins, em Londres, ingressando no ano seguinte no curso de pintura da prestigiosa Slade School of Fine Art, em Londres, onde se graduou em 2013. Em seguida, foi selecionada pela Yale School of Art, nos EUA, onde fez seu mestrado em pintura de 2013 a 2015.

Há um ano Marcela Flórido tem seu ateliê em um galpão industrial no Brooklyn, Nova York, que compartilha com outros quinze artistas dando continuidade a uma prática que sempre prezou: o convívio e a troca de informações e críticas com amigos de ofício. O local abriga todos os ateliês e propicia uma convivência de ideias na prática imersiva e solitária da pintura. Ela mantém constante contato com os amigos das três cidades em que tem vínculos profissionais: Rio de Janeiro, Nova York e Londres, e desde 2013 se corresponde com Anita Schwartz, que acompanha à distância sua trajetória.

Para sua primeira exposição individual na Anita Schwartz Galeria, Marcela Flórido produziu cinco pinturas a óleo em grande formato, em cores vibrantes, que trazem como elemento comum a figura de um coração, presente nos trabalhos recentes da artista. Suas pinturas densas evocam uma atmosfera emocional em cenas de romance e conflitos em paisagens familiares a ela. Apesar de morar fora do Brasil há mais de nove anos, ela não se desconecta das questões do país, e um de seus interesses é a presença da figuração na arte brasileira. A artista também discute em seu trabalho um excesso de elegância, a grande presença da herança construtivista, e um “certo tabu” com a figura feminina.

Nicholas Steindorf
& Kyle Willams
Blinn & Lambert

New Grey Planet, Microscope Gallery
1329 Willoughby Avenue, #2B
December 15, 2017–January 14, 2018.

Opening: Friday, December 15, 6-9 pm

The works in “New Grey Planet” are situated within a loose fictional narrative concerning a space station orbiting a newly discovered planet with two suns—one red, one blue— and the recreation room in which free-floating objects “from home” can be found. Through this scenario – which draws inspiration from among others the story of Pygmalion, Dutch still life paintings, Balthus’ “The Mountain” (1937), and most overtly Stanisław Lem’s book “Solaris”—the artists challenge our relationships to objects: Is it possible to separate our perception of an object from the memories and meanings they evoke? And, how do they resist such attribution or otherwise communicate with us?


2017 Chapbook Reading
October 20, 6:30–8:00 PM
28 West 27th St, 3rd Flr, New York, 10001

Join us in celebrating this year’s Poetry Chapbook honorees! This year’s winner is Kimberly Kruge for her manuscript High-Land, Sub-Tropic. Honorable mentions go to David Denny and Basma Kavanaugh. Kruge, Denny, and Kavanaugh will read from their works.

Suggested admission: $10/$5 members. Guests receive a free letterpress broadside.*
A reception will follow.

As the winning selection, High-Land, Sub-Tropic is published as a limited-edition, letterpress-printed, and hand-bound chapbook created by artist Ed Rayher of Swamp Press. Limited-edition, letterpress-printed, and hand-bound chapbooks of the work of Guest Curator Juan Felipe Herrera—designed and printed by artist Amber McMillan—are published by the Center. Honorable mention manuscripts are printed as letterpress broadsides by Center artists. *Additional signed chapbooks and broadsides will be available for purchase at the reading.


Kimberly Kruge is a poet and translator who lives and works in Guadalajara. Her poems have appeared in Ploughshares, Copper Nickel, The Massachusetts Review, Poetry Northwest, The Missouri Review and others. Her translations can be found in Precog Mag, Riot of Perfume and Luvina. She is the founder of the Comala Haven for Writers, a workshop and retreat for women in Mexico.

David Denny‘s new collection, Some Divine Commotion, is forthcoming from Shanti Arts Books this fall. Previous titles include Man Overboard, Fool in the Attic, and the short story collection, The Gill Man in Purgatory. His story, “Sometimes Only the Sad Songs Will Do,” will appear as Story of the Week on October 30 at Narrative magazine. 

Basma Kavanaugh is a Nova Scotia poet, visual artist, and letterpress printer. She produces artist’s books under the imprint Rabbit Square Books. She has published two collections of poetry, Distillo (Gaspereau, 2012), and Niche (Frontenac, 2015), which won the 2016 Lansdowne Prize for Poetry.

Drea Cofield
& Ping Zheng

Nancy Margolis Gallery
Summer 2017
June 29—July 29

Nancy Margolis Gallery is pleased to announce the upcoming exhibition, Summer 2017 is to open with watercolor works on paper by Drea Cofield, and oil stick paintings by Ping Zheng, on Thursday, June 29, 2017, 6pm to 8pm. Both artists, new to the gallery, make strikingly dissimilar works on paper, yet share a commonality of connection, a powerful emotional inner core reflected in the work's color, mark, iconography and composition.


Queer Punk Night! The Shirtlifters & Deadname
7:00~Deadname !! 8:00~The Shirtlifters!!

Noise Workshop
389 Melrose Street, Brooklyn, New York 11237

Your modest $5 donation goes directly to the musicians
though none will be turned away for lack of funds.


The Altar: Rituals of Healing in the African Diaspora
Curated by Present Futuresat Gnarly Vines

359 Myrtle Ave, Brooklyn, NY
Opening Reception: February 4, 5-8PM

Randi Shandroski
& Lactic

November 26—December 10
12-8pm everyday at Rockwall Studios, 1080 Wyckoff Ave

VOX Bizarre is a new store and workshop collaboratively created by four independent design labels Casey Caldwell, Claire Fleury, LACTIC Incorporated, and TILLY&WILLIAM. As designers we are each focused on creating pieces that are inclusive for all bodies and gender expressions. As small batch manufacturers we are dedicated to creating a sustainable alternative to fast fashion companies and building closer relationships with customers. As a collective we are concerned with creating a community space where people can come together to share information and ideas. VOX Bizarre is a space to gather, a place to create, a way to celebrate and adorn the self and foster community. For a full listing of events happening in the space, check out the facebook page.

December 17th, 10 pm
Repurposed Pfizer Pharmaceutical Manufacturing Plant
630 Flushing Ave, 5th floor, Brooklyn, NY.

Re: Art Show is an ever-evolving group exhibition located at 630 Flushing Avenue, Brooklyn, NY, on the 5th Floor. Housed within the spaces of the former Pfizer pharmaceutical factory, Re: Art Show introduces a new structure to the exhibition format, with no set duration, multiple openings, and a dynamic environment.

The show intends to redefine what an exhibition is and how it functions. It aims to meet ever-expanding ideas with an ever-expanding exhibition, thereby creating an amoebic hive of creativity, collaboration, and experimentation that travels with each included artist through a duration of their creative practice.

 November 5th—December 25t, 2016

LACTIC will be offering a 50% discount code for the Stacked and Cropped Hoodies to those who make a donation of two or more qualifying hoodies. All donations will be used to create custom Stacked Hoodies which will be donated to organization(s) providing clothing for homeless LGBTQ people this winter season. Here

Florencia Escudero
& Dalia Amara

October 22—November 12, 2016
Opening reception: October 22, 7-10 pm
Selena Gallery, 37 Troutman St. #3 Brooklyn, NY 11206

Selena Gallery presents Skin Dips, an exhibition featuring work by Dalia Amara and Florencia Escudero.Skin Dips brings work together by two Brooklyn based artists exploring female phantoms, absence, and anthropomorphism. Amara and Escudero transmit a feminine Lynchian vista utilizing photograph and sculpture. Through anthropomorphism, objects and spaces create fantasies referencing the human body. These works emit female beauty terror, the body scrutinized and objectified, which is transmitted into domestic space. The materials used in these creations range from makeup, fake flowers, and sex toys: objects that occupy a place between disgust and desire, banality and trauma. The spaces explored inthe making of the works range from personal interior space to obscure motels, creating a converging of close private space public space. The presence of the artist’s hand becomes visible in their works through the performative making and positioning of objects in these space.

Selena is an artist run space co-founded by Anjuli Rathod and Olivia Swider. Exhibitions are on view for openings and thereafter by appointment only.

Drea Cofield’s Mural

Rise & Grind

Ideal Glass
Opening Reception: Sept 16, 6:30—10 pm
22 E. 2nd St, New York, NY 10003

Join us this Friday September 16th for the opening of our new mural “Rise and Grind”, by Drea Cofield. The New York based artist conceived the mural to address notions of intimacy, and more particularly the idea of scaling up works initially conceived as expressive yet confidential experiences. With this piece her intention is to shift towards a more composed, graphic, and physically immersive encounter for the viewer. “Rise and Grind” is both a private confrontation and a larger visceral exploration for passersby. “It’s bacchanalian and violent and altogether human.”

Cofield’s work involves figures interacting– or pointedly not interacting–in other worldly landscapes. Bodies are sleeping or dead, facial expressions and gestures are enacted incongruously with violence and spectacle. Cofield explores the challenging language of allegory to see, experience and feel.

Lactic Incorporated
Pop Up

Sept. 15 LACTIC Incorporated Pop Up & Casting
@Lantern Hall and @Fileßend

LACTIC Incorporated takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender and critique existing power structures Hand crafted in the USA out of recycled advertising banners.