Artist: Paul D'Agostino

Artworks

Paul D’Agostino
Rico Gatson, Natalie Moore, Paul D’Agostino

Articles & Reviews

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All Tomorrow’s Parties: M. David & Co. at Art Cake

photo story

Lou Reed’s song All Tomorrow’s Parties, featured on the Velvet Underground & Nico’s debut studio album, was allegedly inspired by the musician’s observation of Andy Warhol’s ‘Factory,’ an epicenter where camp, craze, and creativity flowed in abundance. With a tangible sense of energetic exploration, M. David & Co.’s mega-scale group show at Art Cake echoes this creative exchange by articulating the dynamic intergenerational connections between emerging and established artists across media.

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Così via at Centotto

Opened Dec 16

All photos by Sharilyn Neidhardt

On a rainy December night with little else to recommend it, I made my way to residential gallery Centotto to find it warm, lively, and packed with many of the luminaries of the cozy East Williamsburg scene. Although the weather was so cold and unpleasant that there were scant Christmas shoppers on the L train, artists and art lovers were packed snugly into Centotto for the opening reception of the latest exhibition, “Così via” (Italian for ‘so forth’).

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Return to Light at The Green Door

[caption id="attachment_236" align="aligncenter" width="375"] Rico Gatson, Natalie Moore, Paul D’Agostino[/caption]

All Photos courtesy Susan Sechler Luss

The Green Door gallery was created at the Divine Mercy Cultural Center to foster a sense of community in the Williamsburg neighborhood. The venue was initiated  by Father Thomas Vassalotti, who, along with Father Paul Anel of Heart’s Home, reached out to the artist and curator Elisa Jensen with the wish to connect to the many artists in the neighborhood.

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Dialogue between Art and Life: suggestion, that is the dream

[caption id="attachment_85" align="aligncenter" width="500"] To My Mougouch (dedicated to Agnes Magruder) by Arshile Gorky; all photos courtesy of Outlet gallery website, unless otherwise noted[/caption]

In response to Arshile Gorky’s colored drawings exhibition, an ARTnewsreviewer back in March 1947 declared that Gorky is in no sense a draftsman and that his drawings “must be appraised as doodlings, for psychological rather than formal interest.” More than sixty years later, an exquisite Gorky drawing from 1946 on loan to Outlet gallery, serves as a starting point for a vibrant dialogue between more than thirty contemporary artists with strong and distinct personal iconography and some shared formal concerns.