The Front Room gallery in Williamsburg can be easy to miss if you aren’t looking, though the current show, a selection of images from photographer Sasha Bezzubov’s latest series Wildfire, is certainly worth seeking out. The work documents ravaged landscapes on the West Coast following devastating wildfires. That is, rather than capture the fires themselves, these images show what is left in the wake of such trauma — charred remains of homes, smoldering tree trunks, scorched earth.
Artist/Artshow is an image-heavy book produced this year by AllRightsReserved, a self-described creative studio based in Hong Kong that seeks to publish high-quality texts which explore issues related to the visual arts. You’ll love the pictures but …
This movement of art in- and outside has been of interest to me since I regularly began following street art about a year ago. The contexts in which the work can be seen often varies dramatically, and these environmental shifts raise a number of questions: does the work itself change as it traverses public and private domains? If so, how? And what does this translation mean for our understanding of the work? A few months ago, I crisscrossed Brooklyn and Manhattan to investigate street art’s translation from the street to a gallery setting.
I joined Hyperallergic editor and fellow street art enthusiast, Hrag Vartanian, to discuss the recent film by the Antagonist Art Movement titled “This is Berlin Not New York.” The very indie film is directed by Ethan H. Minsker and follows the adventures of the New York-based art group as they travel to Berlin to participate in an exhibition and explore one of the world’s hot spots of contemporary art.
An edited transcript of our conversation is below but make up your own mind this Saturday night (Oct. 17) as the film is being screened at Anthology Film Archives during the Royal Flush Festival.