The filmmaker and artist Meredith Danluck has been garnering growing attention for tackling tropes from Hollywood and down-home American culture in such films as "The Ride," a documentary about professional bull riders that premiered at SXSW. Now a 2013 Sundance Institute Fellow, Danluck is returning to her New York roots with a show at the Lower East Side's Leslie Fritz Gallery presenting a trio of short art films: an extended loop of bone-crushing fight scenes, narrated by Mixed Martial Arts legend Frank Shamrock; a circling, 360-degree view of a kissing couple that morphs genders; and a sequence of 15 actors reacting to good and bad news. It seems that Danluck's success in the film world has come with new connections: the fight sequences in the first film were choreographed by Benjamin Millepied, the director of the Paris Opera Ballet (and husband of Natalie Portman).
Mining a visual vocabulary informed by Haim Steinbach's shelves, Cady Noland's installations, and even Dan Flavin's lighting, Josephine Meckseper has become famous for creating shop-like displays that serve up critiques of consumer culture—often with a mirrored background capturing, and implicating, the viewer. Last spring she showed New Yorkers a different side of her capitalism-tweaking work with a pair of kinetic oil-rig sculptures she installed near Times Square for the Public Art Fund, and this month she returns to view with a show of four signature sculptural works at the renovated Parrish Art Museum.
In 1938, the Museum of Modern Art devoted its first single-photographer show to a little-known Farm Security Administration employee by the name of Walker Evans for "American Photographs," a suite of 87 black-and-white prints depicting Depression-era life across the Eastern United States. The images, also collected in book form with an essay by Lincoln Kirstein, served to announce Evans as the essential American photographer—three years before his book with James Agee, Let Us Now Praise Famous Men, vaulted him to even higher reaches of celebrity. This month, to mark the 75th anniversary of "American Photographs," MoMA is displaying 60 of the original images from the 1938 show, which prompted curator John Szarkowski to write, "it was difficult to know now whether Walker Evans recorded the America of his youth, or invented it."
You may have noticed Denise Kupferschmidt's work at this May's NADA NYC art fair, where her spare, Bauhaus-meets-classical paintings, sculptures, and prints at Halsey McKay's booth were widely hailed as among the fair's standout discoveries. Expect to hear more about the artist soon: now, in addition to continuing her promising artistic practice, Kupferschmidt has just joined forces with eight other young artists to found a buzzy new Lower East Side space, Essex Flowers, that intends to combine aspects of a Kunsthalle, a gallery, and time-honored downtown artist cooperative. The new venture will be open seven days a week, so be sure to check it out.
Billed by a brand-new BBC documentary as "the greatest photographer you've never heard of," Vivan Maier's powerful, deeply personal work only came to light in 2007, two years before the artist—who had worked all her life as an itinerant Chicago nanny—died at age 83. Now her more than 100,000 street scenes and self-portraits, all suffused with both probing emotional intelligence and lonely romance, have become a sensation among connoisseurs of American photography.
BRION NUDA ROSCH
The Chicago-born, San Francisco-based artist Brion Nuda Rosch emerged from the Bay Area performance-art scene, becoming known for engaging his audience in freewheeling scenarios, but has since grown into applying his anarchic approach to sculptural photo collages and painterly sculptures referencing everything from public artworks to meat. On July 13 the artist will make his Los Angeles solo debut with a show at ACME Gallery, featuring what the artist describes as "an exhibit of portraits…. Bong rips at the community ceramics center and work tables turned to paintings."