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Following his 2004 installation at Triple Candie of a life size basketball court made of 224 sweatshop tables, Brian Jungen revisits New York with an extensive survey of works from 1993 to 2005. A leading member of a new generation of Vancouver artists, Jungen covers the entire ground floor at the New Museums transitional location in Chelsea.
Conceived and directed by performance artist Joan Jonas with original piano score by Jason Moran, the central narrative focus of The Shape, the Scent, the Feel of Things is the unprecedented life and work of art historian Aby Warburg (1866-1929).
The difficulties of El Museo del Barrios mission are reflected in the conflicting statements and provocative questions raised by The (S) Files/The Selected Files, the museums first attempt at a biennial of contemporary art.
Edward Burtynskys show of large scale photographs of the industrial landscape owes more to the photography of Ansel Adams or the paintings of Charles Scheeler than to contemporaries like Andreas Gursky or Gregory Crewdson.
Although she shows extensively elsewhere, Marcia Hafifs exhibition Glaze Paintings in Chelsea provides a rare opportunity to see the artists work in New York. The pure sensation of light that bounces off the surface of each of her canvases seems to indicate colors so precisely calibrated that each emits a single frequency of light.
Chris Wilmarth wrote country music and loved it enough to contemplate giving up sculpture for it. Like his sculpture, his songs are without frills. Theyre rough around the edges and wistful, with a strong dose of nostalgia straight out of the blues. His voice is high and nasal and has a bit of Dylan and a bit of Guthrie in it. Hank Williams was his favorite.
If you ask Roland Flexner, he will adamantly deny being anything so categorically limiting as a “process artist,” despite the ingenious mark making events using blown bubbles of soap, ink, and water he has come to be known for. He’s not playing coy about the sexy forms that emerge in his art—these methods are the journey for him, not the destination.
Two years ago, the Peter Blum Gallery held an exhibition called Alex Katz: Cartoons, which raised some entertaining questions about the role of intentionality in the creation of a work of art. The drawings on display were essentially by products of the process Katz uses to compose his large-scale paintings.
Paint, the essence of paint, the substance of paint, the materiality of paint, the culture of paint. Geoff Dorfman is an artist who has spent the better part of the last three and a half decades immersed in the implications of what it means to be painting now.
A little painter man, brush in hand, strokes away at a broad black line. Following the trail of this line, it doubles back on itself again and again, passing through the doorway at the center of the picture, filling the room behind, then streaks on to fill another, on an endless continuum.
Nicolas Carone, who turned 88 this year, is a painter who has been reluctant to be categorized as a second generation Abstract Expressionist. His workwhile leaning towards the same argument for and against de Koonings expressiveness of the then controversial synthesis of the figure and abstraction at the first glancehas in fact far greater affinities to wider sources in art history.
Maps have always served at least two purposes: to get people from point A to point B, and to demonstrate or set claim to domains of power and control. The further you go back in history, the more both of these functions become speculative and the more maps assumed an air of exploration.
When you think of the French tradition in painting, you think of Poussin, Delacroix, and Ingres. Monet comes to mind. Braque, Matisse, and Léger follow along with all the foreigners who flocked to Paris at the turn of the 20th century to help make it the center of the international art world.
A fortunate exhibition of Jasper Johns flag drawings at Craig F. Starr Gallery presents mostly early drawings, from 1955 and 1956, in a variety of mediumsgraphite wash, pencil, ink, collage, watercolor, and some re-worked lithographsreflecting the artists versatility in creating variations on a theme.
Symbolist, member of the Decadence group, and a proto-Surrealist, Odilon Redon (1840 1916) was a native of Bordeaux, a painter and graphic artist, who composed his enigmatic art works sort of like music.