The poetry of fence posts and concrete footings. A detail of Flock in Space, by Ruben Ochoa, in Dallas. The piece is part of the city-wide sculpture exhibitionNasher XChange, organized by the Nasher Sculpture Center to celebrate its 10th anniversary. Ochoa’s piece is on view at the Trinity River Audubon Center, through February 16th. For a map of the other commissions, click here. (Image courtesy of the artist and Susanne Vielmetter Projects.)
Sound Manifest Horizon No. 1, by Augustine Kofie. Part of the group showL’Avenir, a Graffuturism Group Show, organized by Poesia, at White Walls Gallery. Opens Saturday in San Francisco. (Image courtesy of the artist and White Walls.)
L.A.: John Kilduff, FastFood Paintings, at Blackstone Gallery. This Thursday, from noon to 9pm, in downtown.
NYC:Emoji Art and Design Show, at Eyebeam Art & Technology Center. Opens Thursday, in Chelsea. On Saturday, there will be a panel, “I Have No Words: Emoji and the New Visual Vernacular, at 3pm, also at Eyebeam.
A photograph by Julio González Sánchez. Part of the group showBolivia Existe, at Momenta Art in New York, in collaboration with Kiosko Galería from Santa Cruz, Bolivia. Opens Friday at 7pm, in Bushwick. (Image courtesy of the artist and Momenta.)
Dolores, no pun intended, a painting by noted Brazilian artist Vania Mignone, looks over the tools used to correct dentofacial deformities. (All photos by Todd Kessler.)
The good doctor poses — with cigar — in front of Anima Sola, a canvas by Mexican-born Carlos de Villasante
The waiting area, where the exhibit changes quarterly. Currently on view: a selection of images from Stories, by Cuban-American writer and photographer Tony Mendoza.
We here at C-Mon HQ generally eschew art fair-related coverage in favor of more productive and enlightening activities (drunk texting and watching the Kimye video over and over again). But we’ve set aside our prejudices for this special report on Dr. Arturo Mosquera, a Miami-based orthodontist and contemporary art collector whose clinic, in the southwestern-most reaches of Miami-Dade County, has been a venue for rotating art exhibits since 2000.
Installed around dental chairs and goose neck task lights, the works extend Arturo and Liza Mosquera’s collection of mostly Latin American artists onto workplace walls more commonly adorned with posters of sunsets and the national parks. This year’s exhibit, provocatively titled From the Religious to Sacrilegious is designed, in Dr. Mosquera’s own words, “to start a dialog with kids and adults who wouldn’t otherwise see things like this.”
The bonus: unlike at Art Basel, you can get your teeth straightened while taking in the work.
High Heels Crowd Surf, by Tod Seelie. (Image courtesy of the artist.)
In the mail today came a book I am super ecstatic about: Tod Seelie’s Bright Nights, which gathers all of his New York photographs into one handy tome. Even as the city becomes a monochromatic carpet of condos and faux retro watering holes, Bright Nights is a reminder that even at its most Bloombergian New York has always retained pockets of creative chaos (and hopefully always will). This book is a tribute to those pockets — and all the bloody noses that come with it.
What’s more, I got to write an essay for this baby, which I’m pretty dang proud of. (Thank you, Jeff Stark, for the mad editing skills.) I’ve been an admirer of Tod’s work for years, from the time his images first started to pop up on Flickr years ago. I’ve long been enthralled by what they covered: under-the-radar events like Bike Kill, Japanther concerts, vogue-ing competitions and journeys made by Swoon on her flotilla of hand-made rafts. But it’s his framing and his sense of color that makes his work rise above simple documentation.
It was a thrill to be able to contribute a few words to the spaces between the pictures. So go out and get the book! And while you’re at it, check out Tod’s website, his Instagram, and his Twitter.