Hold These Truths

November 13, 2017 - March 14, 2018

Monday, July 25 2011

Art in the Expanded Field: The Ascendency of Online Art Communities

On Wednesday, July 20th, Artcards launched “Artist Conversations” with artist and curator round-table discussions and performances at the Invisible Dog Art Center in Brooklyn. The maiden discussion revolved around the ascendency of the Internet as a tool for independent curators and artist-run collectives and the advantages and disadvantages of the Internet’s increasingly vital role in art communities. The founders of influential art sites (Mark Tribe of Rhizome, David Andrew Frey of CultureHall, and Kris Chatterson and Vince Contarino of Progress Report) advocated for the beneficent and democratic potential of the Internet. more 

FaceBookTwitterAddThis

Friday, July 15 2011

Who is Afraid of Public Art?

If you happened to be passing by Houston between the Essex and Ludlow between May 6th and June 12th, you probably heard the phrase “Free Public Art!” No Longer Empty staff and volunteers employed this manta as an overture to pedestrians to come see our show, “About Face.” Through invoking “Public Art”, we aimed to draw in passersby, to characterize our organization as inclusive and welcoming, fundamentally different from conventional galleries and art institutions. However, Public Art is hotly debated notion, constantly questioned and redefined. Our colloquial use of the term sparked a series of questions: How should Public Art be defined? Which “Public” does Public Art serve? Is Public Art different from Art in Public Spaces? How have the definitions of Public Art changed? These questions are motivated by a deeply felt need and quest to bring art to a wider audience often alienated by the art world’s structures of privilege. more 

FaceBookTwitterAddThis

Friday, July 08 2011

Space Available on the Chelsea Highline: Artist Kim Beck's series of public sculptures along the Chelsea Highline make reference to empty storefronts

At first glance, Kim Beck’s three sculptures on rooftops along Washington Street, between West 13th and Gansevoort Streets seem to be the frameworks of an empty billboard. Designed to be viewed obliquely and in transit, they slowly reveal themselves to the passerby as flat trompe l'oeil structures cut from perspectival drawings. In a sense, they are imposters — mimetic imitations of urban structures strategically integrated into the urban landscape of the Chelsea Highline. They so resemble the vernacular architecture of billboards and scaffolds that they literally vanish to the casual passerby. more 

FaceBookTwitterAddThis

Thursday, June 30 2011

Filling the Void: No Longer Empty is the subject of exciting new scholarship

In a pioneering thesis submitted at The School of the Art Institute of Chicago entitled “Art in Vacant Storefronts: A New Area for Creative Research and Development,” Lauren Rosenberg details the growing practice of placing art in vacant storefronts in New York, San Francisco, and Chicago.  more 

FaceBookTwitterAddThis

Tuesday, June 28 2011

Empty Again: Thoughts on the deinstallation of "About Face"

No Longer Empty’s most recent exhibition, About Face isolated and made transparent the conventions of art’s exhibition— of the accepted variables of space, curation, artist, audience, and temporality. The process of de-installing About Face —which largely involved boxing DVD players and projectors, recycling heaps of scrap-wood and newspaper — underscored the radical contingency of NLE’s exhibition format. Of the eighteen works on exhibition, only two — stunning abstract assemblages by Jason Gringler — were static, material objects to be packed away and handling with care. more 

FaceBookTwitterAddThis