Celebrate the End of National Art Hate Week

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This week’s end also marks the end of another week — National Art Hate Week. Schemed up by English artist/Tracey Emin ex Billy Childish for some abstract pseudo-existential reason that no one, perhaps even Childish himself, can pinpoint, perhaps National Art Hate Week came at a serendipitous time, to commemorate the death of Dash Snow, a passing that has inspired probably some niches to develop at least a distaste for art until their next multimedia messiah floats down. So let’s cast away the curmudgeonly ghost of Stuckist past and figure out who’s showing what and where.

In West Hollywood, Kopeikin Gallery debuted “Eisbergfreistadt,” a collaboration between Nicholas Kahn & Richard Selesnick. And it picks out a relatively obscure moment in history, singling out a 1923 incident where an iceberg drifted into the Baltic sea and ran into a German port. The show itself features photographs of live stagings where K&S re-created the historical moment using miniature scene models, costumed people, and props. The exhibition is ongoing until August 22.

Also exhibiting through August 22 is “The Splendour of Fear,” a gothic-tinged group show of six artists at The Michael Benevento Gallery. Artists include photographer Sigmar Polke and media artist Cerith Wyn Evans, whose contribution includes a prominent, if delightfully kitschy neon rose.

In New York, Shinique Smith presents her first solo show at Chelsea’s Yvon Lambert, “Ten Times Myself,” a mix of paintings and sculpture inspired in equal parts by Abstract Expressionism and Japanese Calligraphy; similarly palpable is her influence from both street and salon art. This show ends on July 31, though.

Meanwhile, at The Bronx’s Bronx River Art Center presents a show which seems to just be the latest in apocalypse art: “Black Gold.” It features the work of Malaysian artist Tattfoo Tan and Bronx-based artist Abigail DeVille in a show that recontextualizes jewelry and explore the politics of oil money through the lends of urban decay.

And because good art is never exclusively bicoastal, Seattle’s Cullom Gallery features “The Summer Ephemera Show” in its latest rotation of Japanese prints until the end of August.