Some latter-season group shows to soften the end of your summer, and an exhibit at MoMI to help you Break your Bad.
Brian Morris Gallery, 163 Chrystie St., through September 7th
An estival group show through and through, Endless Summer, curated by Gary Petersen, takes both lackadaisical vibes and hung-loose conceptual cues from its cinematic eponym—a wonderful and formative movie, especially for beach bums like us—to bring together works by fifteen artists whose divergences in media and style are resolved via common subjects of praise: "all things buoyant and summery." Pay the gallery a visit in search of your own perfectly lined wave. And if you've never seen the movie, then do so, haulie!
Signal Gallery, 260 Johnson Avenue
Although Signal's capacious exhibition space could probably accommodate individual works by all 200 photographers in this show's roster, 200 prints is not what you'll find. Large-scale projection, rather, is the chosen mode of conveyance—two at a time, diptych-like, as each artist was charged with choosing one image from her or his randomly assigned other. Intimate and epic and everything therebetween, the range of visuals runs far and wide, and there are many exquisitely circumstantial parallels in the pairings. Bring a beer, claim a chair, stay a while.
FROM MR. CHIPS TO SCARFACE: WALTER WHITE'S TRANSFORMATION IN BREAKING BAD
Museum of the Moving Image, 36-01 35 Avenue, Astoria, through October 27th
It is and isn't quaint that a TV show born of drug-related riches, tribulations, narrative ironies and variably damaging addictions has itself spawned a broad culture of addicts. If you have a pulse—however chemically quickened—you might well rank among them. And if so, you'll not want to miss this spread of images, footage, props and, likely, paraphernalia culled together to track key manners and moments in the morphing of Walter White into Heisenberg. Arrive with your twitch, get your fix.
THE DECLINE AND FALL OF THE ART WORLD, PART I: THE ONE-PERCENTERS
Freight & Volume, 530 West 24th St., through August 17th
This group show takes as its muse, quite clearly, not the art world, but the Art World, and in doing so it might be aimed at reaffirming the validity of variably understood lower cases. Or maybe not. The exhibit's anti-pontificatory statement composed in opaque hues of conditioned hypotheticals isn't exactly worded to be a lucid transmission of intent. No matter, though, for these artists craft works that are themselves straight-shooters: compositions that crackle with voices making digs, lodging complaints, spreading rumors and recounting histories. Should Part I succeed in cutting A.W. down to a.w., perhaps Part II—if it's in the cards—will confirm that 'a' can be 'A.' It's imaginable, one might say. At least in theory. Or Theory.
You can follow Paul D'Agostino on Twitter @postuccio