P&CO.'s ArtCrawl, New York, NY (2026)

09/10/2024

(post 5 of 5)
Spring Break [Title, Artist | Curator(s)] Cont’d

No.1 Lucidum I (left) and Basilica IX (right), Laura Lappi;

No.2 “slips,” oil, ink on panel, Gary Gissler | Anita Rogers Gallery;

No.3 “Brittle Things (left),” Zachary Lank;

No.4 “Solidarity,” oil on canvas, Mustafa Mohsin;

No.5 Anna Krieps, the IRL sister and co-creative collaborator of the multi-facted actress Vicky Krieps depicts her sis as muse. “Olympia in Bikini,” Anna Krieps;

No.6 More studly, beefcake Asian men, yes pls. Kaizhou Allegro Yang’s curatorial project The Discreet Charm of the Dreamers with Korean-American artist Justin Yoon;

Nos. 7&8 Skateboard culture meets art making in Mexico City. Miraculous Castle, White Horse, Fade Away, Lustral Water,El Luchador Recibe La Piladora Roja, Imminent Presence, Dreamlike, Gran Chaman (Left to Right, Top to Bottom); Pictured with Curator, Evolution of the Species. Martin Nuńez | Luis Galindo;

No.9 Ode to Duchamp: A Liar, Ryan Bock;

No.10 Don’t Mind the Cyclops Eye, Mr. Leonard Jeter on the ‘F’ line. Art is for everyone.

That’s a wrap for summer ‘24!

09/10/2024

(post 4 of 5)
AMP Art on Paper [Title, Artist | Art Venue]

Nos.1&2 A thin layer of paper is meticulously shaved into different depths of thickness creating varying densities of light shining thru. Repurposed imagery of early-Renaissance and Byzantine motifs convey a holy glow. A m a z i n g. After Faith, Anna Gregor | Tomato Mouse;

No.3 Quintin Blumka, a fifth-generation gallerist and son of Tony Blumka, the current director and owner of the esteemed Blumka Gallery—renowned for its expertise in Medieval, Renaissance, and Baroque art—has expanded his focus to connect the past and present by branching into the 21st century, now championing and guiding emerging contemporary artists through a new (ad)venture."Vanishing Act II, 2018 Colton Kruizenga | Blumka Contemporary

No.4 Self-portrait. Oil Pastel on Paper, Bill Miller | dieFirma;
No.5 Figurative caricature studies. Ink on Paper, 1929-2007 Nadia Gould | dieFirma;

Spring Break [Title, Artist | Curator(s)]

Nos. 6&7 “The True Administration of Nature” envisions America as a boundless, untamable forest, linking government buildings across the continent with native vegetation. The map flips traditional geography, with North becoming South, and represents a future where all species coexist in harmony, symbolizing continental unity. Acrylic on Japanese paper, 2024 Hernán Pitto Bellocchio | Chiara Spangaro;

No.8 An analog approach to mind-mapping belies the perhaps intentionally futile gestures of categorizing a month’s worth of introspective thought processes & memories. Note to Self, custom-made steel post-its, Stuart Landry | Shona McAndrew;

No.9 "Dust Eaters: Speed," Eric Diel | Ambre Kelly and Andrew Gori.

09/10/2024

Summer close out. We officially put away the SPF 100+ sunscreen and faced the headwinds of the first hectic week of September where fall art fairs inevitably collide with the fall issue prep.

Narrative thruline are the words that come to mind to describe a cohesive path forward that links the body of creative works seen at Independent 20th Century (sleek & elegant), Art on Paper NY (modern contemporary paper-medium based), and Spring Break (A LOT of freshshshshness to see) art fairs. Here’s a handpicked, Omakase-style selection for your viewing pleasure that you can like and follow anytime, all year round, 24/7.

(post 3 of 5)

No.1 Signed & gifted memento print from our summer ‘24 featured cover artist Carolina Muñoz

No. 2 Art Fair Jaunts!

Independent 20th Century [Artist | Art Venue]
Nos. 3&4 A companion to the previous exhibition ‘Swagger and Tenderness’ , sculptural portraits that provide a distinct visibility to the diverse subjects of the Bronx and Harlem spanning 40 years. J. Ahearn & R. Torres | Salon 94;

No.5 An homage to this alt art space stalwart of upstate NY for its 50th Anniversary. P.S. - Ty to co-founder Charles Clough for the ‘Art Will’ book and explicatory reminiscence. Hallwalls, Contemporary Art Center 1975-2025;

No.6 Paint and painting as a kind of “spiritual extension of the soul.” Yes. Macanudo, 2005, Paint and cigar box, Squeak Carnwath | Jane Lombard Gallery;

No.7 Hallo, Düsseldorf! The color purple serves as a tuning fork that reverberates a consistent pitch here. St. Nikolaus, 2002, Paint on polyester, Katharina Fritsch (front) and Gotthard Graubner, 1990, Gouache on paper (back) | Sies + Höke;

Nos.8&9 With a long history in the Bowery LES art scene and adopted by a German-American family with indigenous heritage, this artist’s practice revolves around a reclamation of self-identity by creating a ‘third place’ where hybrid cultural identities can coexist. “People in NYC”, 2000, Brad Kahlhamer | Venus Manhattan;

07/09/2024

(post 2 of 3):

No 1 Snapshot taken from Open Studios at ISCP. Featured cover artist, Carolina Muñoz | Proxyco. On view 7/10th thru 7/23rd (M | LES);

Nos 2&3 WoW. This Iranian artist is certainly using the force. Anita Rogers | Shirin Mirjamali. On view ‘til 7/13th (M | SoHo);

Nos 4&5 When technology promotes social racism. In 2019, Harvard professor, Sarah Lewis, wrote an illuminating article for the NYTimes on the racial bias inherent in Kodak photo stock in calibrating skin color based on what was known as the “Shirley card” of the mid-1990s. This exhibition goes back to the tail end of the minstrel shows of the mid-1930s which ironically happened to parallel the advent of the Harlem Renaissance period cultivating black culture & excellence. A multi-channel video installation of a black and white film clip starring Bing Crosby and a bevy of white female dancers (Too Much Harmony, 1933) who transition miraculously into black-face skin tones is nowadays the equivalent of flinging the ‘N’ word in public. Illuminating. Ina Archer | Microscope. On view ‘til 7/27th (M | Chelsea);

Nos 6&7 This interesting manifestation was inspired by Mixeca Temezcal sweat ceremonies and the protective form of pinecones. A child of Colombian and Kichwa-Ecuadorian immigrants, this artist’s work is derived from healing techniques, magical realism, and alternative archival storytelling. dre jácome | Smack Mellon. On view ‘til 8/4th (B | Dumbo);

Nos 8&9 Miriam gallery + bookshop (B | Williamsburg).

07/09/2024

(post 3 of 3):

No 1 Snapshot taken from Open Studios at ISCP. Featured cover artist, Carolina Muñoz | Proxyco. On view 7/10th thru 7/23rd (M | LES);

Nos 2&3 WoW. This Iranian artist is certainly using the force. Anita Rogers | Shirin Mirjamali. On view ‘til 7/13th (M | SoHo);

Nos 4&5 When technology promotes social racism. In 2019, Harvard professor, Sarah Lewis, wrote an illuminating article for the NYTimes on the racial bias inherent in Kodak photo stock in calibrating skin color based on what was known as the “Shirley card” of the mid-1990s. This exhibition goes back to the tail end of the minstrel shows of the mid-1930s which ironically happened to parallel the advent of the Harlem Renaissance period cultivating black culture & excellence. A multi-channel video installation of a black and white film clip starring Bing Crosby and a bevy of white female dancers (Too Much Harmony, 1933) who transition miraculously into black-face skin tones is nowadays the equivalent of flinging the ‘N’ word in public. Illuminating. Ina Archer | Microscope. On view ‘til 7/27th (M | Chelsea);

Nos 6&7 This interesting manifestation was inspired by Mixeca Temezcal sweat ceremonies and the protective form of pinecones. A child of Colombian and Kichwa-Ecuadorian immigrants, this artist’s work is derived from healing techniques, magical realism, and alternative archival storytelling. dre jácome | Smack Mellon. On view ‘til 8/4th (B | Dumbo);

Nos 8&9 Miriam gallery + bookshop (B | Williamsburg).

07/08/2024

Summer museums, galleries, alt spaces and eclectic bookstores, oh, my! Heat rises and so does good art on display that’s well worth the slog thru this sweltering heat. So pls take care and stay cool, sip those mocktails, and persevere as the next art crawl destination most likely has AC. (post 2 of 3):

No 1 Our latest Summer ‘24 featured cover artist. Meet the artist and the see the culmination of new works created during her current residency at ISCP at the opening this coming Wednesday, July 10th . Carolina Munoz | Proxyco. On view 7/10th thru 7/23rd (M | LES);

No 2 Learning opportunity for us. NaCl (table salt), serves as an effective screen backdrop for this trompe de l’oeil video installation that evokes pleasant memories of lying on a carpet of grass musing over shape-shifting clouds above/below. Beryl Odette, “Fallen Sky” | 601 Artspace (M | LES);

No 3 Satisfying en plein air oil paintings. Peter Gynd | Space 776. On view ‘til 7/9th (M | LES);

Nos 4/5 Sand and cuttlefish share similar evolutionary footprints in that both are highly migratory, ancestral and carry the history of their travels, while imprinting new habitats. This globally peripatetic artist embodies the transitional evolutionary nature of sand and cuttlefish into geometric canvases, a sand molded suitcase, and 80 galvanized cuttlefish bones as imprints of, dare I say it, the sands of time. Jeewi Lee | signs and symbols. On view ‘til 7/19th (M | LES);

No 6 Combining personal reflections with broader universal themes, the viewing experience requires steady breath and a calm mind to take in our place rooted in the universality of time, memory and perhaps decay. Stop by and ponder. Moyra Davey | Higher Pics. On view ‘til 7/19th (B | Dumbo);

Nos 7&8 There’s an uptick of functional alt spaces doing double-duty. Boram Kim and Jorge Garcia, a married couple and co-directors run this new-ish establishment, which serves as both a film lab and photo-focused gallery space exhibiting showcase-worthy street photography by this Argentinian (Berlin-based) Gen Z artist channeling Larry Clark’s Kids. Marina Mónaco | Contact Photo (B | ‘Burg).

06/25/2024

Hellatio, Summer 2024! We hope everyone is managing to stay cool and refreshed as we slowly emerge from the sizzle-tunnel. P&Co.’s ArtCrawl art guide is delighted to present our latest featured cover artist, Carolina Muñoz.

When seeking potential featured cover artists, our publication aims to spotlight creators who bring fresh perspectives to the art world. I had the pleasure of meeting Carolina Muñoz during Open Studios this past April at the International Studio & Curatorial Program (ISCP). When I first look at a painting, my immediate Pavlovian response is to start reverse engineering any digital influences in the work. Coming from a digital media background it's almost an intuitive instinct to run a sniff test, by saying, 'Oh, okay, that's so-and-so pshop filter used here and there...', but what struck
me as especially interesting about Carolina's work, were the decisive choices she was clearly making with the role digital enhancements play in the composition of her paintings. There is a clear line between allowing the mechanics of digital editing tools to dictate an outcome and the auteurship of a hand to control. If you do a historical roll through Carolina's IG account, it's quite clear that she is rooted in traditional painting and evolving a controlled use of digital tools to compose her mind's eye. We think her distinctive figurative caricature paintings places her work in the company of giants like Philip Guston, George Condo, and Nicole Eisenman, except with an updated and current marker .

Hailing from Santiago, Chile, Carolina holds a degree and diploma in visual arts and the aesthetics of photography from Pontificia Universidad Católica de Chile. As the 1st prize recipient of the CCU Art Scholarship in 2023, she is currently participating in a four-month artist residency at the International Studio & Curatorial Program (ISCP) in Brooklyn, New York. Her residency at ISCP will culminate with two solo exhibitions at Proxyco gallery in Manhattan’s Lower East Side and the CCU Art Room in Santiago, Chile. Mark your calendars for Munoz’s upcoming show at Proxyco gallery, which will run from July 10th thru July 23rd. For further exhibition details, refer to this guide (M - LES).

05/17/2024

(post 2 of 2):

1 Spring featured cover artist,Tirtza Even, ‘Gaza Strip’, 2022, video still;

2-4 A much loved community-focused cultural art center, BRAC is a beautiful expansive gallery space committed to injecting art and art-making in the local Bronx community with impressive art showings. We arrived on a blustery day to check out the latest opening organized by Blanka Amezkua, and were welcomed with deeelish vegan squash soup, wine & cheese, and an eclectic selection of tacos to nourish our bellies as well as our mind’s eyes. Bronx River Art Center (BRAC) | Jake Alfieri, Ego Likes to Talk About It, NEVER WAIT! (Nunca Esperes!). On view ‘til 6/8th;

5 Chief Beau Dick, Walas Gwa'yam (1955-2017), is posthumously receiving his moment of recognition in NY with his showing at Independent this spring as well as a comprehensive solo exhibition that recently closed at Andrew Kreps gallery. As much, as an activist of the Native-American community in Vancouver as a talented carver who inherited his carving skills from his father and grandfather, his versatile renditions of totemic figures serve as equal visual eye candy and reinforcement of cultural heritage. Fazakas | Beau Dick;

6 This latest chubby reality seems more flesh for fabulistic fantasy than last year’s draftsmen drawings of Cain & Abel. Derek Eller | Jameson Green’s Neighborhood Games Pt. 4, 2024;

7 Known for collaborating with G.B. Jones, both positioned q***r history representation as the subject matter of their works. Here, the artist paints an exquisite portrait of a young man to whom we’re sure many ardors of desire are pinned. Maureen Paley | Paul P.;

8&9 For the spring finale, we circled back to Bed-Stuy, to take in the opening at Ivy N. Jones’s townhouse gallery for a debut solo exhibition of this young painter who fully committed to the entire spectrum of vibrant colors. Welancora | Na’Ye Perez, Shake Loose My Skin, 2024. On view ‘til 5/30th.

And this wraps up our Spring visitations. See you all in the summer!
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05/17/2024

A wrap-up of this spring's visits to museums, galleries, alt-spaces, and art fairs. Following are the stand-outs for us in our art viewing jaunts throughout NYC (post 1 of 2):

1 Our fabulous Spring 2024 featured cover artist, Tirtza Even, 2nd Person, 2023, multi-channel installation;

2&3 Black and white photos of emphatic disembodied arms, hands, and the headless body of a woman capped with a large rotund vase, evoke a sense of political messaging balanced with the unhinged. This Turkish filmmaker who was short-listed for the Turner Prize riffs Dovzhenko and W.G. Sebald’s ‘The Emigrants’. Somewhere b/w fact and fiction lies truthiness. Niru Ratnam | Kutlug Ataman;

4 The minutiae of nature’s particulars in achingly gorgeous form offset to the golden hour. Queue the lutes, nudge the minstrels. Hitchcock sent his birds. Alexandre | Tom Uttech;

5&6 One of the values of attending art fairs is the ability to space travel w/o jumping on a plane to be exposed to new dimensions of art viewing. This Shanghai-based project space gallery piqued our interest with a solo presentation of oil paintings that elicit eerie spectral strangers channeling feelings of tender warmth in a chilly afterworld. LINSEED | Asami SHOJI;

7 The meandering railroad tracks that delineate the border b/w Bklyn and Queens mark the CQ locale for this Maspeth gallery with a stellar solo presentation by an artist who explores her familial generational origins. MRS. | Elizabeth Atterbury;

8. Novel print work demonstrating tactile use of mediums coloring outside the box. Derek Eller | Austin Martin White;

9. The most intriguing artist encountered at Independent this spring. The mindset of Mr. Santillán is enigmatic and thought-provoking, and we’ll be watching creepy-close to see where his fascination with kicks leads. Copperfield | Oscar Santillán.
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03/15/2024

1:31... Hello, Spring 2024. In our latest iteration of P&Co.’s ArtCrawl art guide, we're excited and pleased to present this season's featured cover artist, Tirtza Even.

Migratory grafting is a concept that resonates with Even's artistic practice. However, tread cautiously with the term 'migration', mindful of its risk of falling into cliché or a tired trope, reminiscent of an all too common nightly news headline. Rather, it's a referential parallel between the grafting process intrinsic to compositional construction within video editing/storytelling, and the migratory journeys, embarked upon by her subjects as they traverse between different global locales and life stages.

Even's work documents the evolving self-awareness of individuals, grounding and contextualizing the shifting patterns they often experience through challenging dynamics. The audio recordings of conversations serve as a rich auditory backdrop, weaving a 'sonic fabric', accompanying the viewer through nine screens, each representing a distinct moment captured in time (2nd Person). These moments parallel the visual metaphors of a narrative, told and seen through a multichannel installation that mirrors a film strip, a type of palimpsest to document and record – from the hushed reflections on motherhood to contemplations of aging, or the retelling of escaping political persecution – she addresses the complex socio-political circumstance individuals face that serve as the impetus for internal transformation that her subjects experience on a deeply personal level. Her work is a poignant exploration of our shared human condition.

Even has spent the past 20 years making documentaries and video art. Her work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, and the Johannesburg Biennial, as well as in many galleries, museums, and festivals in the U.S., Canada, Israel, and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. She is the recipient of numerous grants and awards and in addition to her active art practice, serves as a faculty member at the School of the Art Institute of Chicago.

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Stay up-to-date with our exhibition listings, refreshed weekly and accessible every Thursday by 3pm. You can access the latest updates through:
1. Our website www.artcrawl.net (PDF);
2. Scan the QR code in a print copy (PDF);
3. Access the app (currently available to registered subscribers participating in the testing phase and with an invite code).
The digital copy of our Spring 2024 issue in PDF format will be available starting April 15th.

01/01/2024

Happy New Year 2024! ‘Tis the season for the cyclical baton toss where an end prompts a new beginning. We’re a little busy pushing out two new family editions 👶+👶 🎄, but did manage to squeeze in two aligned exhibitions at the Brooklyn Museum and Printed Matter focused on artists and zine making to do all important cultural work.

#1 Thanks to Off Paradise NY and the artist for sharing an absolutely clutch Winter 2024 cover featuring Mitch Charbonneau’s “Wild Cherry”, 2021;

#2 A comprehensive, LGBTQ+, and collectives-centric group exhibition, “Copy Machine Manifestos” focuses on artists’ zines and representations of subcultures with over 1k zines and works spanning 100 participating artists. | Brooklyn Museum, on view thru 3/31st:

#3 According to Brett Bloom and Marc Fischer, a Chicago-based collaborative duo of the imprint Half Letter Press, “the distinction b/w art practice and other creative human endeavors is irrelevant [to us]”. Too right! Temporary Services;

#4 Frederick Weston’s “The Story of Little Black Sambo”, 2000;

#5 As a mail art initiative, RedEX, a Mexico City-based collective founded in 2016. Sending out miniature RRD kiosks to be intentionally edited by the recipients during the COVID-19 pandemic to highlight issues around unauthorized reproduction and copyright parameters. RRD Collective;

#6 LTTR collective, 2002-4. LTTR acronym = Le****ns Tend To Read;

#7 A frequent collaborator with Bruce Labruce, this multi-hyphenate artist continues to be active since the 80s representing q***r punk identities. J.D.s and Tom Girls drawings. G.B.Jones;
. And below, participants in Printed Matter’s exhibition “DIMENSIONS”, organized by , on view thru 1/5th:

#8 A publishing platform run by Be Oakley, a self-described “not non-for-profit-for-survival”, GenderFail spotlights creative labor production and livelihood as a universal preoccupation for all working artists;

#9 A commissioned project by Framer Framed, and edited by Irene de Craen, editor-in-chief of Errant Journal. Subversive Publishing Strategies.

12/09/2023

Pay For The Printer.1 In this latest P&Co.’s ArtCrawl art guide, we are very pleased to present our Winter 2024 issue featuring Mitchell Charbonneau's Wild Cherry (2021). A ubiquitous symbol and nostalgic marker imprinted on the horizon line of many family road trips down memory lane takes center stage on our cover this season in meticulous, exacting form.

Foundations, Charbonneau’s second solo exhibition at Off Paradise, New York, is currently on view until December 17th (see exhibition listings for more details).

As always, exhibition listings are updated weekly and available for download each Thursday by 3pm from our website (www.artcrawl.net) or via QR code which can be found in the print issue..

1Philip K. Dick, "Pay For The Printer," in The Philip K. Dick Reader, (New York: Citadel Press, 1997) 232-252.

P&CO.'s ArtCrawl

09/10/2024

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07/09/2024

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06/25/2024

05/17/2024

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