Friday 01.13.17
‘Postcards From the Edge,’ A benefit by Visual AIDS

From a young age we learn how much the flow of goods and capital can be livened up with a little mystery. (Think: Happy Meals, holiday grab bags, whether or not your debit card is going to get denied at your bodega on Sunday morning). Surprises rock! It’s an obvious, objective truism. You get excited, you beg for clues, you scramble to guess. The excitement is hard to contain.
And Visual AIDS — a contemporary art organization we’ve definitely told y’all about before — understands this excitement. Specifically, they do with the upcoming 19th annual ‘Postcards From the Edge’ benefit, scheduled for this weekend. This event provides “an opportunity for the public to purchase original pieces of postcard-sized artwork by both established and emerging artists for only $85 each.” And not without some mysterious fun; the individual cards are displayed, sans the artist’s names, the identity of whom you find out post-purchase! This is your chance to take home original pieces by favorites like William Wegman, John Arsenault, Loraine O’Grady, Benjamin Fredrickson, Marilyn Minter, Kerry James Marshall, and many more.
Image courtesy of the artist Benjamin Fredrickson
The actual benefit sale will occur all day January 14th and 15th, preceded by a Preview Party on Friday the 13th from 5:00PM-8:00PM where you’ll have the chance to win first dibs on your favorite pieces. VIP passes and a silent auction are also in store at the event, so head to the host gallery Metro Pictures for some awesome surprises that benefit an even more awesome cause. …

Guided tour of Kerry James Marshall’s “Mastry” by BOFFO

All efforts to describe what it’s like to move through Kerry James Marshall’s retrospective are more or less futile; suffice, words won’t do. If you haven’t yet visited Marshall’s “Mastry”– titled so aptly its many meanings will reach you in subtle and profound ways – then I hope the rock you’ve been living under has heat (…along with food, drink, and other necessary resources). And if it doesn’t you might as well head uptown to stay warm and hydrated at The Met Breuer, where you can see almost 80 of Marshall’s original paintings, the scope of which makes “Mastry,” Marshall’s largest exhibition to date. Also, adjacent to the work by Marshall that constitutes the bulk of “Mastry” is a large room filled with works curated by Marshall himself. This is meant to express the many influences in style and era that inform Marshall’s oeuvre, something I’ve now decided any good retrospective should have.
“Mastry” is many things: expansive, confronting, stunning. It is a timeless ode painted in joy and sorrow by one to many more, a love letter that yearns to “reassert the place of the black figure within the canon of Western painting.” And Marshall does it so successfully; the imperial, white supremacist enamel of said canon simply cannot bear the enormous weight of “Mastry.” Aaand if you’re still reading and not on your way there now — or closed your laptop because this is the 400th writeup you’ve read about Marshall’s retrospective — we have great news: You don’t have to bask in the beautiful blackness of “Mastry” on your own! …
