Thanks for subscribing! Look out for your first newsletter in your inbox soon!
The best of New York straight to your inbox
We help you navigate a myriad of possibilities. Sign up for our newsletter for the best of the city.
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
The show's title comes from a series of surrealistic canvases completed just after World War II by George Grosz, the famously scabrous Weimar artist who left Nazi Germany for America in 1933. They depict an artist at his easel surrounded by a blasted landscape, rendering the same image of a hole over and over while remaining oblivious to the devastation. VanDyke likewise alludes to the apparent disconnect between contemporary art and events such as the war in Afghanistan. The works here are actually stitched together out of the remnants of a performance, in which a pair of dancers wrestled each other while wearing outfits that dripped pigment as they rolled around, putting a violent spin on the idea of action painting.
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
🙌 Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!