The subliminal image disappears below our conscious threshold, losing none of its effect, surreptitiously perhaps even gaining power. Used in mainstream 1950s films to stimulate the audiences appetite for candy, a discrepant image hides inside a stream of images similar to themselves.
Peter Williams is a troubling painter for troubling reasons. There is a disconnect between his sophisticated paint handlingwhich can veer from dry pointillist dots to hard-sculpted tonalities to bejeweled washes and drips, all in the same pictureand the low-culture effrontery of his images.
Consisting of thirteen paintings, five studies, and sixteen related drawings, Mark Greenwolds exhibition A Moment of True Feeling 1997 2007 is an in-depth retrospective of his paintings of the past decade, which is, coincidentally, the span of time since his last exhibition.
Its no longer news that Altria, and the $7 million it lavishes each year on the arts, is leaving New York.
Her elegant, weirdly engaging paintings are serial depictions of a female figure in varied, often riotous grounds that convey a distanced but binding romance between a figure and her surroundings.
Lets begin with the reasons why Richard Prince is having a large retrospective at the Guggenheim. The show, as even a fledgling student of semiotics knows, should be taken as a sign or symbol that, if closely examined, will divulge the true meaning of its origins.
Simplicity in a work of art can shock. It has been mistaken for crudeness as with Courbet’s reductive brand of realism; for arrogance as with Duchamp’s readymade; and for mere inadequacy as with Judd’s early work. In each case, an artist’s insight into how art could communicate more clearly caused viewers to balk
Five years ago, on September 11th, Aleksandra Mir circulated copies of a self-published, mock-issue of the New York Daily News. The front-page headline of her 46-page newspaper exclaimed HAPPY BIRTHDAY! on the one-year anniversary of the terrorist attacks on lower Manhattan.
In her large-scale drawings at Pierogi Gallery, Dawn Clements seems to be operating in the expanding realm that Proust charted, the project of depicting the three-dimensional quality of memory.
Greenjeans, a small craft shop slowly morphing into a makeshift gallery in Brooklyn’s South Slope, is becoming a destination for new American craft. Their latest show, Garbage Collection, is their first foray into a gallery-like exhibition.
Like any exhibition curated on the basis of a common theme or cultural background, the intentions among or between the artists are rarely identical in spite of the concept governing their selection.
As a twenty-five year local resident I can unashamedly admit it: I love the Brooklyn Museum of Art. Like the borough itself, its big, quirky, and, for the uninitiated, a bit odd.
“Excuse me,” asked a young graduate student, “what is it you’re protesting exactly?” The person in the pink bunny suit gave no reply and continued pacing in front of an esteemed blue-chip Chelsea gallery, stopping on occasion only to adjust its sandwich board, which read ARE YOU KIDDING ME?
Art fairs and their related spectacles are growing more commercial and frenzied with each new city I visit. In reality, the fairs in London during October probably werent any more maddening than Basel, but the effect is cumulative, like mercury in your blood.
As I entered the Anita Shapolsky Gallery, it seemed like the space was actually a sophisticated writers studio, complete with a collection of artwork and books, a backyard patio, and an upstairs studio for painting and sculpting. But upon closer inspection, I discovered a treasure trove of the most unusual kind, a show that could be called Art by Writers.
Its October again. Fall has finally arrived and so has the Frieze magazine crew with the 5th edition of its art fair road show
Mark Bradford, recipient of the Whitney Museum’s 2006 Bucksbaum Award, takes the title of his exhibition in the museum’s main floor gallery, Neither New Nor Correct, from map historian Peter Barber’s determination that a 1715 world map claiming to present “new and correct” data was in fact doing neither.
If you strolled onto the grounds of the Southbank Centre over the summer, youd catch a flag by Tracy Emin emblazoned with One secret is to save everything printed over a field of swimming sperm.
Since 1991, the program has made annual awards to 250 American artists. This year, however, grantees face a major challenge: adjusting to a new workspace on Jay Street, Brooklyn. No longer will participants ease into the Lower Manhattan location that was home to the program for 16 years; this season, they join the rapidly growing DUMBO arts community.
Hiroshi Sugimoto: History of History
By Tessa DeCarlo
Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute
A lot of what photographer Hiroshi Sugimoto does ought to be really annoying. He’s famous for making very large photographs of things that might seem hardly worth photographing: museum dioramas, celebrity waxworks, empty movie theaters, expanses of the calm ocean.