The New York Times


allery openings tend to be staid affairs. White wine, art-world hobnobbing and maybe dinner. O’Flaherty’s, a scrappy gallery in the East Village of Manhattan that’s named after a nonexistent Irish pub, sought to invert the whole notion of the summer group show. First, it held an “open call” in which anyone — starving artists, children, even Terence Koh, an established artist — could submit their work and see it hung in a New York City gallery. (More than a thousand people dropped off submissions, the gallery said.)

The Cut


On a recent Wednesday night, O’Flaherty’s, a new art gallery named for an imaginary Irish pub, had an opening. The storefront space, which has a neon sign in the window reading WHAT’S WRONG?, shares its block on Avenue C with a community garden, a dentist’s office, and a Jehovah’s Witnesses Kingdom Hall, far from the decorous, museumlike megagalleries of West Chelsea. In the most overheated, self-serious, and asset-hungry contemporary-art market the world has likely ever known, O’Flaherty’s has so far sold nothing; it’s hard to say if that’s on purpose. By a little after 7 p.m., the gallery had filled with casually tattered, unmasked young people, and everything was bathed in a radioactive glow. “Black light is very important,” said Jamian Juliano-Villani, a rising-star artist herself who is one of the gallery’s three founders. “Taste is out the door.”

The New York Times


The idea of “deskilling” has incited considerable chatter in the contemporary art sphere in the past decade. In economics the term refers to the technically undemanding labor performed by most modern industrial workers. In art discourse it identifies the deliberate rejection of traditional craft in the service of conceptual provocation and expressive freedom.