SoHo Loft Project
The Opening Gallery is pleased to present a new project focusing on the history and present of New York SoHo Lofts featuring a group exhibition entitled LATE START FOR MARDI GRAS, a collaborative project between Max Blagg & 21 featured artists on April 9, 2025, from 6.30-9 PM at 115 Wooster Street.
Max Blagg will read a selection of poems from the series, accompanied by a group exhibition of the 21 corresponding collaborative artworks.
THE SOHO LOFT PROJECT
SoHo and New York City in the 1970s were pivotal in shaping the landscape of fine arts and interdisciplinary arts. The neighborhood of SoHo, originally a manufacturing district, became a haven for artists seeking affordable studio spaces. The rent was low, and the large, open lofts provided ideal environments for creative experimentation. Artists began to form communities, creating a collaborative atmosphere that encouraged interdisciplinary approaches. This led to innovative crossovers between painting, sculpture, performance, and installation art.
The 1970s saw the rise of Minimalism and Conceptual Art, movements that challenged traditional notions of art. Artists like Donald Judd and Sol LeWitt based their practices in SoHo, pushing boundaries and exploring new ideas about form and concept. These movements emphasized ideas over aesthetics, paving the way for future interdisciplinary practices where art could intersect with philosophy, language, and social commentary. SoHo became a center for performance art, with artists like Marina Abramović and Laurie Anderson pushing the limits of what art could be. Performance art often blended elements of theater, dance, and visual arts, reflecting the fluidity of artistic boundaries. The era’s focus on personal narrative and the body as a medium allowed artists to engage directly with social issues, making art a tool for activism and dialogue.
The social upheaval of the 1970s, including movements for civil rights, feminism, and LGBTQ+ rights, influenced artists to reflect on and respond to contemporary issues. Art became a way to challenge societal norms and provoke thought.The rise of alternative spaces and galleries in SoHo provided platforms for marginalized voices, leading to a more inclusive art scene that highlighted issues of identity, race, and gender. Major institutions like the Museum of Modern Art (MoMA) and the Whitney Museum began to recognize and support the burgeoning contemporary art scene. This validation helped to legitimize new artistic practices and broadened the public’s understanding of what constituted art. The establishment of new galleries and art spaces in SoHo and beyond facilitated the promotion of emerging artists, fostering a vibrant ecosystem for innovation.
Artists in the 1970s often collaborated with musicians, dancers, filmmakers, and writers, breaking down the barriers between disciplines. This intersection led to groundbreaking works that influenced multiple fields. The integration of technology into art also began to take shape during this era, with artists experimenting with video, sound, and new media, laying the groundwork for future digital art movements.
The impact of SoHo and New York City in the 1970s on fine arts and interdisciplinary arts cannot be overstated. The convergence of artist communities, innovative movements, and a politically charged atmosphere fostered an environment ripe for experimentation and collaboration. This period not only transformed the art world but also set the stage for contemporary practices that continue to evolve today. The social movements of the 1970s had a profound influence on artistic expression, shaping the themes, styles, and practices of artists across various disciplines.
Artists began to address issues of race, identity, and social justice in their work. The civil rights struggle inspired African American artists to create pieces that reflected their experiences and the fight against systemic racism. Movements like the Black Arts Movement emphasized the importance of cultural identity, leading to a resurgence of African and African American themes in visual arts, literature, and performance.
Feminism challenged traditional gender roles and the way women were represented in art. Female artists sought to reclaim their narratives and address issues such as objectification, sexuality, and domesticity. Artists like Judy Chicago and Miriam Schapiro created works that celebrated women’s experiences and contributions, often using mixed media and installation to convey their messages. The feminist art movement also encouraged collaboration and community, leading to the establishment of women-focused art spaces and exhibitions.The fight for LGBTQ+ rights gained momentum in the 1970s, with artists using their work to advocate for visibility and acceptance. This was reflected in art that addressed themes of sexuality, identity, and community.
Artists such as David Hockney and Keith Haring brought queer identity into the mainstream, using bold colors and imagery to challenge societal norms and promote LGBTQ+ culture. Growing awareness of environmental issues in the 1970s inspired artists to explore themes related to nature, ecology, and sustainability. Eco-artists began to use natural materials and engage with the landscape in their work. This movement encouraged a shift towards art that not only represented environmental issues but also sought to raise awareness and inspire action for ecological preservation.
The Vietnam War sparked widespread protests and dissent, leading artists to create politically charged works that critiqued war and militarism. This resulted in powerful imagery that conveyed the horrors of conflict and the impact on society. Artists used various mediums, including posters, photography, and performance, to communicate their anti-war sentiments and engage audiences in discussions about peace and justice. The counterculture of the 1960s and 1970s brought about a rejection of mainstream values, which influenced artistic expression. Artists experimented with psychedelic art, street art, and new media, embracing non-traditional forms and styles. This period saw the rise of performance art and happenings, where the boundary between artist and audience blurred, reflecting the era’s emphasis on experiential and participatory art.
The interconnectedness of various social movements led to a more nuanced understanding of identity and experience in art. Artists began to explore the intersections of race, gender, sexuality, and class, creating works that reflected the complexity of contemporary society. This emphasis on intersectionality contributed to a broader and more inclusive art discourse, prompting artists to engage with multiple perspectives and narratives.
The social movements of the 1970s were instrumental in shaping artistic expression, leading to a more politically engaged and socially conscious art scene. Artists responded to the challenges and changes in society, using their work as a platform for advocacy, reflection, and innovation. This era laid the groundwork for contemporary art practices that continue to explore and address pressing social issues.
MAX BLAGG
GROUP EXHIBITION “LATE START FOR MARDI GRAS”
LATE START FOR MARDI GRAS began in 2019 with a 200-page printout of a Blagg manuscript from 2011, randomly stitched onto raw canvas by J. Huminska, and tacked to his studio walls for further editing and redaction while he convalesced from a tick-borne illness. As the canvases accumulated and he recovered, Blagg began inviting artists to embellish, demolish, erase or praise the ‘text-canvases’, however they saw fit. Artists chose their piece by title or text, working directly on the canvas or in some cases creating an entirely new piece. The project took its name from the 1st piece completed, entitled LSFMG, by Walter Robinson.
This collaboration eventually culminated in a collection of 21 poems and 21 artworks, that were reproduced in a 7-volume series of red thread stitch bound, hand assembled and boxed sets of booklets in NYC, published in an edition of 50. LSFMG features the work of the following artists: Golnar Adili, Ellen Berkenblit, Ernesto Caivano, Michael Combs, Peter Dayton, Sally Egbert, Eric Fischl, James Gilroy, Nan Goldin, Michael Halsband, Curtis Kulig, Justen Ladda, Ruth Marten, Jamie Nares, Walter Robinson, Nick Rule, Will Ryman, Ken Tisa, Walter Schrank, Ryan Wallace, and Lucy Winton. This 192-page softcover compendium mirrors the project’s booklet series in its entirety.
MAX BLAGG
Max Blagg, born in England, has lived in NYC since 1971. Long recognized as a highly respected poet, visual artist and performer on the New York art & literary scene, he has appeared at innumerable venues including Tin Pan Alley, Jackie 60, Kitchen, Drawing Center, Guggenheim Museum, Parrish Museum, St. Mark’s Church, The National Arts Club & Bowery Poetry Club. Blagg has also been collaborating with artists since the 1970’s, notably the Hotel Firbank Project with Ken Tisa, featured at PS 1 in 1980, and a poem/painting with Richard Prince as part of the “Protest Paintings” series that was included in Prince’s retrospective at Guggenheim Museum, 2007; Collaborative readings/performances with Ethyl Eichelberger, Nan Goldin; and written collaborative texts for various artists including Alex Katz, James Brown, Ralph Gibson, Larry Clark, Jerelyn Hanrahan, and Keith Sonnier. Blagg has published several volumes of poetry & prose internationally & in the U.S. with Aloes Books, Carpe Diem Press, Lumen Editions/Boston, and Shallow Books. He lives in New York City, where he continues to write, collaborate, and liberate his poetry from the page, onto walls, windows, tree stumps and other moveable and stationary objects.
