Sandblasted posters anchored by wood dowels by Ishmael Randall Weeks speak to the eroding effects of time, yet the entropy he evokes speaks more of uncovering the forgotten past than obliterating it. (At Van Doren Waxter through Oct 28th).
Brooklyn art duo FAILE and artist friend BAST put a new spin on the old question, ‘what is art?’ by teaming up at the Brooklyn Museum to present a free arcade decorated in their signature posters. According to the museum text, they aim to relieve ‘the pressure of a traditional gallery environment,’ which they do in spades – it’s hard to remember you’re in a museum. (Through Oct 4th).
Installation view of the FAILE and BAST Deluxx Fluxx Arcade, Brooklyn Museum, September, 2015.
An imaginary cabaret group spreads the word about the dangers of climate change as advertised by this wall of faux event posters by artist duo Kahn and Selesnick. Known for photographing outlandish scenarios, their imagination runs riot in this jam-packed show. (At Chelsea’s Yancey Richardson Gallery through July 3rd).
Kahn & Selesnick, installation view of ‘Truppe Fledermaus & the Carnival at the end of the World,’ Flashe and tempura paint on canvas and on paper, printed posters.
Amy Bessone’s pencil holder fists unite in vague protest in her current solo show at Salon94 Bowery on the Lower East Side. A nearby poster warns, ‘Don’t Truncate Me!’ Already truncated, the hands become resistance tchotchkes. (through June 14th).
Amy Bessone, installation view of ‘In the Green Room’ (foreground is ‘Number…(Numbers),’ ceramic, pencil, 2013).
By lifting phrases like ‘This is it with it as it is,’ from Gertrude Stein’s 1914 book ‘Tender Buttons,’ LA-based artist Eve Fowler moves Stein’s creative language play into a more public realm, as seen here on the windows of Feature, Inc. on the Lower East Side. (Through June 2nd.)
Eve Fowler, from ‘A Spectacle and Nothing Strange,’ letterpress posters with texts from Gertrude Stein’s Tender Buttons (1914), 28 x 22 each, set of 21, 2011-12.
