Julia Wachtel, Acceleration of Similarity (1983), via Art Observed

Revisiting Anne Livet’s original 1980’s exhibition Infotainment, Every Future has a Price: 30 Years after Infotainment at Elizabeth Dee opens a dialogue into the ongoing relevance of the themes and subjects first explored over thirty years ago.  The exhibition, which re-exhibits 11 of the works originally on view from the first show of predominantly East Village artists, dwells on social and philosophical interests that echo much of 1960’s Conceptualism, placing emphasis on the conveyance of ideas over aesthetic interests.

Every Future Has a Price (Installation View), via Art Observed

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‘Warriors. Four Films by Luke Fowler,’ installation view at X Initiative

Currently on view at the Dia Foundation’s former space in Chelsea is Phase Two of the X Initiative, featuring solo shows of three European artists: Keren Cytter, Luke Fowler, and Tris Vonna-Michell.  This is the first major solo show in the US for each artist, all of whom participated in the New Museum’s triennial earlier this year, ‘The Generational: Younger Than Jesus.’ Phase Two also includes ‘Today and Everyday,’ a group show that presents artworks in the context of a still life photograph, an installation, and lastly, a memento. X Initiative is a not-for-profit association of artists, curators, dealers, and other professionals led by dealer Elizabeth Dee, using the Dia space for one year, starting in March, as an alternative arts space.

X Initiative
Unspooling Time Loops [NY Times]
BOMB on the Inside: X Initiative [BOMB]
X Marks the Spot [V Magazine]

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With a cluttered presentation sprawled over two floors of Midtown space, the Columbia University MFA show comes across as energetic, adventurous, but undeniably student-y work; heck, at times it’s slightly muddled, unfinished, and, yes, even downright messy. Who’d ever have thought this would amount to a good thing? But, I must admit, it was all surprisingly refreshing. Over the last couple of years, Columbia has consistently met the challenge of its increasingly high profile, pumping out art stars in the making with graduate presentations as smoothed and polished as anything Chelsea might throw at you. Last year’s class’ offering in Dumbo was no exception: a cavernous space, filled with pristine pieces, thoughtfully arranged into a compelling exhibition which gave the Whitney Biennial “Day for Night” (on view at the same time) more than a run for its money. As expected, a new set of rising stars was ushered in, such as Tamy Ben-Tor and Julieta Aranda, who have already garnered pretty major accolades (and with good cause). (more…)