HELEN O’LEARY: 
Home is a Foreign Country

By Ann McCoy

JUNE 2018 | ArtSeen

Helen O’Leary’s work, which has its formation in Irish linguistics, gives us an inspired version of an Irish art rooted in a sense of place in rural Ireland. The late nineteenth century Gaelic revival (Athbheochan na Gaeilge), advocated for a return to the Irish language, and O’Leary’s psyche is firmly planted in that tongue. O’Leary’s art originates from a life lived on a farm in rural Ireland, and a spiritual connection to that land and rural way of life. In a time when many younger Irish artists have adopted critical theory, digital technology, and international styles severed from their cultural roots, O’Leary’s work possesses a life-lived authenticity and hands-on craftsmanship that sets it apart.

Touring Trump Country in a Clown Car

By John Domini

MAR 2017 | Books

For a story beset with some of the ugliest traumas of fractured contemporary America, Mary Troy’s busy new novel careens along with remarkable lightheartedness.

Town, Country, and the Schoolyard

By Ryan Wenzel

MAY 2017 | Dance

When the Merce Cunningham Dance Company disbanded in 2011, two years after Cunningham’s death, his choreography’s future was unclear. Who might perform it? Where might it be seen, and how often? Fearing the worst, I consumed as much Cunningham choreography as I could during the company’s final tour.

CARLOS REYES:
West Side Club

By Vijay Masharani

APR 2018 | ArtSeen

In his first exhibition with Bodega, Carlos Reyes showcases a series of sculptures constructed from wood salvaged from the sauna of the West Side Club. Described on the club’s website as a “premier social relaxation club for gay and bisexual men,” the West Side Club has been at its Chelsea location since 1995.