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“Black Moon New York,” opening this Friday at Sloan Fine Art’s site/109, celebrates the fabulously freaky artwork of four female artist friends. Marion Peck, Camille Rose Garcia, Elizabeth McGrath, and Jessicka Addams. The group collaborated with gallerist Alix Sloan last year in Los Angeles with a two-day exhibition, “Black Moon,” that was inspired by their successful and satisfying careers and their rich relationships with each other. Now they are bringing their sisterhood of the traveling paintbrush to the east coast. For the new exhibition, open through...
Writer Amanda Hess recently sat down with Mike Pesca of The Gist to discuss the influx of males that are now labeling themselves as advocates for gender equality (#Heforshe), Aziz Ansari and why everything in the world is just so damn complicated. Ansari’s recent declaration of feminism on The Late Show with Dave Letterman was a prominent talking point during the podcast. If you missed it, in-between typical talk-show anecdotes and Beyoncé references, Ansari defined a feminist as, “someone who believes men and women have equal...
  It was music for the kids in high school who wore worn-out Converse and an air of nonchalance. They didn’t smoke like the others, but drank coffee like water, and listened to Sleater-Kinney with the same kind of aggression. Most were unabashedly convinced they were the only ones the band were singing to. Comprised of Corin Tucker, Carrie Brownstein and Janet Weiss, Sleater-Kinney became enmeshed in the northwest punk scene of the early '90s. To say that this Washington state rock band has had a dedicated...
Kate Lyn Sheil, an NYU Tisch alum, stars in a new film, The Heart Machine, that premiered at SXSW this year. The film follows the Internet relationship between Cody (John Gallagher Jr.) and Virginia (Sheil) as she completes a six-month trip in Berlin. The couple has never met physically and it has never affected their relationship. What happens when Cody suspects that Virginia may be a few stops away from him on the L train and not 3000 miles away? Starring in numerous independent films, veteran...
  My first encounter with the work of Chloe Fay Worth Smith came in the form of large mounted color print of a mattress stained with menstrual blood. In a group show at Sarah Lawrence College, the work was magnetic and alluring, its uncomfortable subject matter elevated by its aesthetic beauty. The vision, so ordinary in the context of girlhood humiliations, became unfamiliar through her lens, emerging like the mysterious remains of some remarkable event. The image remained emblazoned in my memory, alternately unnerving and liberating...