It’s 7 p.m. on lower Ludlow Street in Manhattan, and disparate art world cliques begin gathering at the emerging gallery Entrance as if it were that evening’s downtown equivalent of a high school assembly.
The uptown collectors arrived, deposited curbside by chauffeured cars; Brooklyn-based artists rode their bikes there across the Williamsburg Bridge; skaters with intellectualized T-shirt imprints rolled right up to the door, and the at-leisure independently wealthy had their Ubers leave them far up the block, so as to maintain their aura of dishevelment. There was also an adequate smattering of actors and fashion-types — with models towering well above skaters’ moppet hairstyles.
But inside the space, opened by a brother duo — New York City art kids Louis and Jack Shannon, ages 27 and 26, respectively — the diverse crowd intermingled with ease, taking people-watching to be part of the fun, if not an opportunity for learned experience. Such is the Shannons’ objective: To create an egalitarian “clubhouse” atmosphere established by artists, for artists.
Neon sculptures and Ikebana arrangements by Mariko Makino.
Misty White Sidell/WWD
The night marked the opening of “Rest Area,” a show of experimental neon sculptures by the artist Mariko Makino— her first-ever solo show, and the first program