Appearing simultaneously at the 2019 edition of the Venice Biennale and this fall at Paula Cooper Gallery, Christian Marclays 48 War Movies (2019) and an accompanying series of woodblock prints called Screams (all 2018 or 2019) testify to the strangely complex relationship we have with war and its imagery.
For the past half-century or so, Ed Clark has been making plastic paintings that live up to the name.
The possibility of a queer visuality unfettered by ideas of representation is at the forefront of Doron Langbergs debut exhibition, Likeness, at Yossi Milo Gallery.
Soon theyll be salting the roads to Little Wolf, Wisconsin,
The evening of September 11th I sat on the smooth concrete floor of James Cohans new gallery in Tribeca to take in a performance by Hamid Al-Saadi and Amir ElSaffar.
Like a trail of breadcrumbs, Yasmin Kaytmaz leaves a succession of faux fragments
Radical empathy has emerged as a strategy to reorient a culture of systemic disaffection created by the alienation of capitalism.
Inside Allan Sekulas exhibition, Labors Persistence at Marian Goodman Gallery, the five major works were unified by the artists exploration of working-class labor and ideology through descriptive photographic and textual accounts intended to open political dialogue.
Before Ikon Galleys exhibition The AerodromeAn exhibition dedicated to the memory of Michael Stanley, Stanleys contributions to the British arts scene were often spoken of in contemplative tones as a result of his suicide at the age of 37.
The mystery of alchemy is more appealing than its promise of truth.
The still life paintingthat most quotidian of art genresis given a modern makeover in Hauser & Wirths latest exhibition
Two years ago, speaking from his studio, Georg Baselitz said that he felt no more aggression and had nothing to prove.
Stephen Milners appropriated images culled from surf and gay porn magazines pre-dating 1990 re-code the concept of boys club from frat house basement to queer-inclusive activity meet-up.
Working with the constraints of limited space and resources, two Berkeley professors, Lauren Kroiz and Leigh Raiford and their graduate students began with the challenge: what if the museum could be viewed as a space of care rather than as an institutional setting that typically excludes and marginalizes Black art or relegates it to temporary exhibitions designed to correct the historical failure of the Black survey exhibition.
Interdisciplinary artist Devin Kenny uses art as a unique language to articulate systemic structures: invisible logic and motives that dictate power relations as well as recognized narratives.
A product of the 1990s upheaval that transformed video art into video installation, Rottenbergs videos are the focal point of an intricately linked material universe in which architectural elements and room transformations function as added liminal spaces by which one arrives at the screen.
Although not the central theme in the exhibition, the complexity of motherhood, often eclipsed in the history of art by idealized images of maternity, is one of Bennetts most important contributions in Nuclear Family, as she illustrates the changing roles mothers play within the nuclear family since the term entered popular parlance in the last century.
John Armleders second exhibition at David Kordansky is an enveloping experience, and whilst it is true to say that questions are asked of paintings art historical legacy, the effects of chance and playfulness guarantee an altogether immediate, and pleasurable, involvement for the viewer.
In a marginal note, William Hogarth (16971764) summarizes his artistic program: to treat my subjects as a dramatic writer, my picture was my stage.
Despite the differences in Morleys and Artschwagers stylistic and material approaches, their treatment of plastic representation, case by case explores issues of the phenomenology of perception, memory and displacement, birth and death, manmade and natural environments, the news, consumptive culture, and above all anxiety, destruction and violence. Each carved out a unique synthesis of image and object: both relentlessly and restlessly interrupted the conventions of artbe it subject matter or how an artwork should look according to its surrounding space and the times.
The Warmth of Other Suns: Stories of Global Displacement, a 75-artist exhibition about the history, state, and future of migration thrives through its intricate groupings of artists, juxtaposed to integrate mediums, genres, undertones, and geographies, reasserting the capability of thematic group shows to narrate the evolving yet repetitious fate of human experience.
Jonas became a pioneer of video installation as a genre, not necessarily intending it, but by responding to changes in technology and the circumstances of exhibition-marking as theyve shifted over the decadesand to her own developing sense of space.
Like the poems of another Greek exile, Constantine Cavafy, Kounelliss works are spare and direct with no fancifying inflections of materials or handling.
Last May, I traveled to Italy for the opening of the 2019 Venice Biennial, ready to catch up with colleagues and experience the latest artwork from around the world. Eager to check the pulse of art and technology, I knew to anticipate works in the evolving fields of virtual reality and artificial intelligence.
T.C. (Tommy Wayne) Cannon painted Native American portraits outside against skies with potato-shaped clouds and in interiors against magical circle wallpaper patterns with unlikely color combinations. He transformed the garments and neckwear of his subjects to bring out the gravitas from their faces and posture, creating jolting, psychedelic yet monumental tributes, political in their mere existence and as solid and American as Mount Rushmore.
This particular group of works presenting a constellation of relations as if staged for the duration of this particular presentation.
The panel is more than precious; it is a relic, not of the saint, but the artist. The installation presumes that we will understand it to be a masterpiece, one of only six securely attributed to Leonardos hand.
Bel Canto: Contemporary Artists Explore Opera features eight contemporary artists in a range of interdisciplinary work who explore ideas within the tradition and aesthetics of the opera.
The exhibition foregrounds Crawfords projects in other media (photography, printmaking, and film) alongside the larger scale oil paintings for which he is known.
Daria Martins exhibition at The Contemporary Jewish Museum in San Francisco, Tonight the World, presents a journey through the dreams of her maternal grandmother, Susi Stiassni (19232005). Stiassni ventured into Jungian psychoanalysis in the 1970s, recounting and transcribing over 40,000 dreams in a daily writing practice. Amounting to over 20,000 pages of writing over the course of 37 years, these dream diaries became Martins source material for the exhibition.
In two large-scale sculptures, ParaPivot I (2019) and ParaPivot II (2019), she erects a series of black powder-coated steel frames ranging from 8 to 12 feet high, which intersect at their bases and fan out in different directions, forming an array of geometric shapes that shift and change with an almost kinetic quality as viewers wander between and around them.
Upon entering the ground floor of the fabulous Palazzo Fortuny in Venice, visitors encounter a series of sparsely hung portalsa term the artist used to identify paintings with spatial openings structured between various mixtures of burnt umber and ultramarine blue. For Yun, these colors symbolically represent the earth and sky.
DeFeo was an artist who consistently explored her fascination with the real worldits lines, shapes, colors, and atmospheres, its organizationwith an unmitigated desire to express her feelings about it.