Worldscapes is the first major American exhibition of the Icelandic artist Erró, a joint endeavor between NYU, the Reykjavik Art Museum, and the Goethe-Institut. Along with the mini-retrospective at Grey, a series of paintings titled Femme Fatales is uptown at Goethe, and the lithographs Maos Last Visit to Venice are at NYUs Lillian Vernon Center for International Affairs.
For years Dike Blair has been exploring the consequences for subjectivity of living in a thoroughly designed world. His role as both artist and writer has been to examine the spaces and situations that reveal the hand of architects, designers, advertisers, and engineers in manipulating our aesthetic experience of things.
Feminism hasnt looked this good in a decade. Indigestible Correctness, a pair of concurrent exhibitions at Participant Inc., and Kenny Schacter/ROVE, is a gutsy and visceral curatorial exercise.
Taking the form of an abstract African-American studies course, Rico Gatsons History Lessons/Clandestine attempts to trace and rehash segments of twentieth-century American history that were particularly crucial to African Americans in a four-part video and several paintings, drawings, and an architectural structure.
Los Carpinteross recent New York exhibition, paradoxically entitled Downtown while inhabiting a prominent midtown location, succeeds in further feeding the buzz around this popular artist group.
This modest show in the front room of Smack Mellon is easy to pass by, and after a closer look this effect is fitting.
It took awhile for international art to catch on in America. But if you were born in the 1920s and found yourself getting an M.F.A. in the mid-1940s, when world culture was suddenly introduced to America after the Second World War, the farm had lost its charm.
Cristobal Dam and his partner Leah Stuhltrager are artists who, like a lot of Williamsburg folks, also run a gallery. After years of showing the work of others, Dam is debuting his own recent efforts.
Painters are known to become obsessed by sculpture and sculptors may admire painterly virtuosity, but it is rare that a sculptors admiration for painting compels her to capture the spaces and the forms within it.
The temptation of complacency in making art is nearly irresistible, particularly when one attains a modicum of success with ones work.
Do you remember your childhood drawings? If you’re a boy, they were probably small stick men enacting unspeakable scenes of violence. If you’re a girl, horses and princesses, I suppose.
"According to the artist’s bio, he’ll turn fifty next year. You’d think Mr. Humphrey would start acting his age already." Thus ends a review by Mario Naves that appeared in the New York Observer regarding David Humphrey’s current exhibition at Brent Sikkema.
"Mixed media" in the art world has lately meant something very specific: the conglomeration of materials and techniques arranged in a gallery and dubbed "installation." But the mixing of mediums does not always happen in one work; rather, genres may be cross-pollinated through simultaneous and ongoing practices.
Contemporary art photography finds its audience not only in galleries and museums, but in the alternative space of the magazine. Since Alfred Stieglitz founded Camera Work, the portable space of the journal has served as a real forum for the exchange of ideas in photography.
The Icelandic Love Corporation is Sigrún Hrólfsdóttir, Jóní Jónsdóttir, and Eirún Sigurdardóttir. We sat down with two of them and talked just after their performance and exhibit in April. Eirún wasnt present because she had to leave shortly after the opening and performance.
In a video work titled "Twelve," Barbara Kruger continues her original format of combining loaded phrases with imagery. But she sheds the stylized graphics based on fashion magazines and the look of Russian propaganda art that sustained her oeuvre for at least two decades, and presents "conversations" between people in various urban and domestic settings, like luncheonettes, schools, and cafeterias.
Spanning a three-year period, from 2001-2004, Aschheims approach is methodical and resolute. Her paintings, while small in size, feel much larger than their actual dimensions. The support varies between canvas, panel, or linen indicating that each work is specific to its materials.