UNTITLED Takes on S.F. for First Time / ARTNET by FOUR AM

"FOUR A.M. recreated its Grand Street window front to showcase a rotating booth of works by artists such as Yevgeniya Baras’ impasto oil-on-canvas abstract works, and a bronze bust by Sarah Peters" by Ann Binlot

Sarah Peters Descendants and Believers #2, 2010 Bronze 14 x 6 x 6.5 inches Edition of 5

Sarah Peters Descendants and Believers #2, 2010 Bronze 14 x 6 x 6.5 inches Edition of 5

Jeff DeGolier / ARTFCITY by FOUR AM

This Week’s Must-See Art Events: Summer in the City by Michael Anthony Farley

It’s always nice when artwork can be enjoyed in different ways. For example, when I stayed at the Waterfront artist residency upstate, Jeff De Golier had just finished installing “Microramp Boombox,” an indoor skateboard ramp that doubled as a boombox. People skated on it and blared music by day and evening, and then I ended up sleeping in it at night.

No one is probably going to be sleeping in De Golier’s new piece, “Sculpture Boombox Shelf for Obama,” because FOUR A.M. is a tiny storefront project space in the middle of the Lower East Side. Nevertheless, the piece is pretty multifunctional. It plays Christian radio, and also doubles as a shelf for a nifty Obama mug from a dollar store. Is the message here that Obama was a promised Messiah? Did he live up to the faith we placed in him? I’m not sure, but stop by Grand Street and see for yourself. The piece was unveiled this morning, alongside a mysterious vibrating canvas, and will be up until the very-patriotic day July 4th.

Robin Cameron / ARTFCITY by FOUR AM

This Week's Must-See Art Events: Talking GIFs, Kissing Painting, Watching Dogs.

By MIchael Anthony Farley

FOUR A.M., the peculiar little “art window” project space has changed over its show today to a solo work by Robin Cameron. I’m out of town and haven’t seen this project yet, but do check it out. Cameron’s work is notable because it very much looks like “art” but never feels overly precious or tiresomely referential. She’s somehow fluent in the elegance of 20th century modernism and the awkwardness/vulnerability of the process-based object. Seeing her work always feels a bit like visiting the studio of an artist you love and having them ask you “What do you think? Is this finished? Is this good? I don’t care. I like it.” I’m sure the work is perfect for a storefront with a lot of passers-by. There’s also an online component that goes live at 9:00 p.m. tonight at offspace.xyz. by

Robin Cameron III, 2016 watercolor monotype on paper, whiting 40x27.5 in

Robin Cameron III, 2016 watercolor monotype on paper, whiting 40x27.5 in

Anouk Kruithof by FOUR AM

THE MUSEUM OF MODERN ART

New Photography, MoMA’s longstanding exhibition series of recent work in photography, returns this fall in an expanded, biannual format. On the occasion of its 30th anniversary, New Photography is expanding to 19 artists and artist collectives from 14 countries, and includes works made specifically for this exhibition.

Probing the effects of an image-based post-Internet reality, Ocean of Images examines various ways of experiencing the world: through images that are born digitally, made with scanners or lenses in the studio or the real world, presented as still or moving pictures, distributed as zines, morphed into three-dimensional objects, or remixed online. The exhibition’s title refers to the Internet as a vortex of images, a site of piracy, and a system of networks. Ocean of Images presents bodies of work that critically redefine photography as a field of experimentation and intellectual inquiry, where digital and analog, virtual and real dimensions cross over. These artists explore contemporary photo-based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models.

Coinciding with the opening of the exhibition, MoMA will also launch an online platform featuring selections from the archive of the New Photography series, including documents and images from the series' 30-year history.

The artists included are:
Ilit Azoulay (Israeli, b. 1972) 
Zbyněk Baladrán (Czech, b. 1973) 
Lucas Blalock (American, b. 1978) 
Edson Chagas (Angolan, b. 1977) 
Natalie Czech (German, b. 1976) 
DIS (Collective, founded U.S., 2010) 
Katharina Gaenssler (German, b. 1974) 
David Hartt (Canadian, b. 1967) 
Mishka Henner (Belgian, b. 1976) 
David Horvitz (American, b. 1982) 
John Houck (American, b. 1977) 
Yuki Kimura (Japanese, b. 1971) 
Anouk Kruithof (Dutch, b. 1981) 
Basim Magdy (Egyptian, b. 1977) 
Katja Novitskova (Estonian, b. 1984) 
Marina Pinsky (Russian, b. 1986) 
Lele Saveri (Italian, b. 1980) 
Indrė Šerpytytė (Lithuanian, b. 1983) 
Lieko Shiga (Japanese, b. 1980) 

Organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, Roxana Marcoci, Senior Curator, and Lucy Gallun, Assistant Curator, Department of Photography

Anouk Kruithof (Dutch, b. 1981). Subconscious Travelling (detail). 2013. Installation view, Het Nederlands Fotomuseum, Rotterdam, 2013. Installation of 99 photo stickers and five pieces of colored glass, each 9 1/16 × 7 1/16" (23 × 18 cm). Photo credit: Dennis Guzzo. Art © 2015 Anouk Kruitho

Giacometti, The Palace at 4 A.M., 1932 by FOUR AM

According to Giacometti, The Palace at 4 a.m. was inspired by an all-engrossing six-month love affair with a woman identified only as Denise. “We constructed a fantastical palace in the night,” he wrote, “…a very fragile palace of matches; at the least false movement a whole section of the diminutive construction would collapse; we would always began it all over again.”1