ArtSeen
Digital Avant-Garde: Celebrating 25 Years of Ars Electronica
By Ellen PearlmanNow that the hype of the Internet, with its faded IPOs and stock market roller coaster ride is over, and media conglomerates are gobbling each other up on the broadcast food chain, whom can we look to for inspiration and innovation?
Fred Wilson: Objects and Installations: 1979–2000
By Stephanie BuhmannDiving into Fred Wilson’s excursions around the complex relationships between art collections and their institutional display, one cannot help but question the role and ambition of museums.
Terrorvision: Exit Art
By Nick StillmanReturning home to New York City one February night after a party in Westchester County, I was mesmerized by grave ads inside the Metro North trains publicizing the NYPD’s Terrorism Hotline.
Xiomara De Oliver: Scarlets in Ghent
By James KalmThe clashes between the factions and subfactions of our aesthetic tribes are as unrelenting as conflict between the Protestants and Catholics in Northern Ireland, or closer to home, the Bloods and Crips on the streets of East New York.
Klaus Weber
By Katie StoneSick fox is Berlin-based artist Klaus Weber’s New York debut: an introduction to some of the essential themes and variations in the multifarious artist’s oeuvre, with works in a range of media.
Andreas Gursky: Matthew Marks Gallery
By Farrah Karapetian"Nha Trang, Vietnam" is Andreas Gursky at his best. Lady workers weave straw baskets and chairs on the floor of a vast factory. Their scattered presence coheres into a color scheme.
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Lee Bontecou: Drawings 1958-1999
By Tomassio LonghiMatisse once said "He who wants to dedicate himself to painting should start by cutting out his tongue." It was the reason de Kooning revered Matisse, for not making an "ism," but rather just making paintings.
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Two enter and one leaves: YEAR
By William PowhidaDrawings its title from a line in Mad Max: Beyond Thunderdome, Two enter and one leaves at YEAR has something in common with the post-apocalyptic Bartertown where Mad Max fights for his life against a mentally challenged giant controlled by a midget.
Bradley Wester: When In Rome
By Ben La RoccoBradley Wester exhibits painting, collage, and relief in his current show at Bruno Marina Gallery.
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The Free Library: The Riviera
By Sonya ShrierThe hot summer day that I visited The Free Library, Lou Reed’s cool voice filled the room, the hip gallery attendant was napping on a beanbag among books, and hanging plants were scattered around the room enjoying the gentle breeze of an industrial fan.
Crossing the Bridge
By Ben La RoccoThe wine is served in goblets at the opening of Crossing the Bridge at Axelle Fine Arts, an international organization founded in 1994 to bring French art to the States. This evening on Smith Street, however, Axelle is showcasing its own young artist-employees.
Jon Kessler: Global Village Idiot
By Tomassio LonghiAfter visiting the monumental retrospective of Dieter Roth sprawling from MOMA to P.S.1, an almost overwhelming revelation for me, Jon Kessler’s carnivalesque installation of new work at Deitch Projects was a fitting continuation.
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Carol Peligian: The Seductive Quality of the Impossible
By John HawkeA shaggy beef jerky floats on a milky pink ground in the foyer painting of The Seductive Quality of the Impossible, Carol Peligian’s well presented show of paintings and drawings at East, a smart pocket watch of a gallery in Williamsburg.
Willem de Kooning: Gagosian, Mitchell-Innes & Nash, and Richard Gray
By Jim LongWhen New York was New Amsterdam in 1626, the Dutch West India Trading Company owned our little village colony that extended from South Ferry as far North as the stockade that later came to be called Wall Street.
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