It’s been almost a year since Hurricane Sandy wrecked havoc on New York City and much of the East Coast. Artists were effected in a number of devastating ways: from water-clogged homes and studios in Red Hook, Brooklyn, to decades-worth of work lost in flooded Chelsea galleries. Phong Bui, artist and publisher of The Brooklyn Rail is recognizing this anniversary with Come Together: Surviving Sandy, Year 1, a benefit exhibition that is more in the spirit of celebration and solidarity than somber remembrance. Conceived in partnership with the Dedalus Foundation and Industry City, the show features more than 300 artists, roughly half of whom were directly affected by the storm, across a remarkable range of disciplines and career levels. Bui himself lost years of work and much of the Rail’s archive in his flooded Greenpoint studio. The two-month exhibition will also be the site of  poetry readings, film screenings,  musical performances, talks with conservators, and other cultural events.

Exhibiting artists include: Marina Adams, Susan Bee, Katherine Bradford, Mike Cloud, Cora Cohen, Tamara Gonzales, Ron Gorchov, Josephine Halvorson, EJ Hauser, Michael Joo, Alex Katz, Ronnie Landfield, Chris Martin, Carrie Moyer, Nari Ward, Wendy White, Richard Serra, and newer faces such as Becky Brown, Allison Ginsberg, Heidi Howard, Osamu Kobayashi, Brie Ruais, Gabriela Salazar and Nicole Wittenberg.

The opening of Come Together: Surviving Sandy, Year 1 is Sunday, October 20 from 4 PM to 8 PM.

Industry City is located at 220 36th Street in Sunset Park, Brooklyn. The exhibition is open Thursday through Sunday, from 2:00 PM to 6:00 PM , and will run from October 20 to December 15, 2013

For more information and a full schedule of events, please  visit: www.cometogethersandy.com, or email: info@dedalusfoundation.org

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on view at Sikkema Jenkins & Co, 530 West 22nd Street, between 10th and 11th avenues, 212 929 2262, until January 10, 2009

Josephine Halvorson’s small oil paintings are diminutive delights. Their breezy infatuatedness would bring Karen Kilimnik to mind were it not that Halverson’s love affair is with the actual rather than the nostalgic, sparking a true painterly tension between real-life things and their pigment-and-oil existence. In Memento Mori cropped tombstone text fills the canvas, and Crumbs presents just that – lovingly painted remnants of a meal. Within the boundaries of a canvas, eclectic details of our surroundings come to constitute a world unto itself.

This was an artcritical PIC in November 2008.

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