Alberto Giacomettis drawing oeuvre documents the artists lifelong effort to represent visual perception, or rendre ma vision, as he famously declared.
Advertised on NY Art Beats website as the Spring Event that lets you cut and paste just like Poster Boy, Brooklynnovation, at Bushwicks artists-space-cum-gallery, 3rd Ward, ultimately seems less about innovation and more about redundancy.
This is the first museum presentation in America of the drawings and paintings of Unica Zürn (1916-1970), who is known in the English-speaking world as the author of two books, translated as The Man of Jasmine & Other Texts (1994) and Dark Spring (2000).
It is doubtful that X, the aptly named anonymous former lover of the artist Sophie Calle, anticipated that the artist would use his break-up letter, sent to her via email, to open the collective floodgates of feminine response, metabolizing the experience through a public exegesis, or else he might have picked up the phone instead.
This was the first solo show in New York of the innovative sculptor John Outterbridge, who, at 76, is well-known as an artist, community activist, and arts teacher in South Central Los Angeles and Compton.
Sadie Benning first shook up the art world as a slip of a grrrl at the Whitney Biennial in 1992. Her self-confidently personal yet visually alienated videos, made with a Fisher Price Pixelvision camera, advanced the political agendas of the decade while superseding their polemic through a quirky and personal storytelling style.
Having met the Indian artist Nalini Malani in 1985, I have been following her work for nearly 25 years with increasing admiration. When I first knew her, Malani was primarily engaged with acrylic paintings on canvas or watercolors on paper that presented an essentially realistic, socially-based picture of life in contemporary India, focusing especially on gender and family issues.
Why wait forever for one weepy orange dribble in a Callum Innes to hit the bottom of the canvas if one could watch seven colors slosh in succession over two video screens and take their real timeor seem toto dry.
The Richard L. Feigen & Co. gallery has unveiled an unseen trove of collages by Ray Johnson, with works by Salvador Dalí and Andy Warhol. Included are the collages Johnson subjected to seemingly endless reworking and overlaying, which were found signed, scrupulously dated (many with multiple dates documenting the ongoing changes) and neatly arranged in his house at the time of his suicide on January 13, 1995.
It was when I hit the Sherry Levines that the sinking feeling started. If the impetus behind Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection is assessing drawing now, as the exhibition catalogue asserts, it disregards evidence of a parallel then alongside the now, with Levines 1985 works marking the wormhole between the two.
Kirby Holland, the fictional protagonist of R. C. Bakers ongoing novel-cum-exhibition, explains his art-making process this way: I put these collages together as grounds, the surface you paint on, before laying the abstract designs on top: I need some grit, something to hang my compositions on.
Being in a room with Arai Shin-Ichi is something like being in a room with a coyote; misunderstanding is a given, but reciprocal inquisitiveness guarantees a good time.
In 1924, the middle of the age of the Charleston, wealthy businessman Gordon Strong asked Frank Lloyd Wright to design a tourist destination for the top of Sugar Loaf Mountain in Maryland.
The majority of works in Keiko Narahashis Picturehood embody the continuum between two and three dimensions. For Narahashi, picturehood seems to imply that a picture, or representation, is as present and material as any three dimensional object.
Its funny that nothing seems to get dated faster than our depictions of an imagined future. Reading Nineteen Eighty-Four in high school, the future looked grim, but inevitably, when 1984 popped up on the calendar, life still looked cheery, and when the long-awaited movie lumbered along, it was a period piece indulging in high-kitsch Cold War paranoia. Likewise, 2001: A Space Odyssey is a much better snapshot of 1968 than anything weve seen in the new millennium.
Most of the work I have seen by Graham Nickson over the yearswhether in oil or watercolorhas been figurative, often bathers interacting as if they were caught in the middle of a dance movementstrident poses moving from full body to classical gesture, where everything is connected in the realm of aesthetic intersubjectivity. The
A word like revelatory should be used advisedly, but there really isnt a better way to describe Pierrette Blochs current exhibition at Haim Chanin Fine Arts.
No painter since Pollock has refused to separate landscape and language more than Cy Twombly. His work is at its best when no withstands yes, when all of the things that make it beautiful to look at in the affirmative are never left to their so-called natural devices.
Tangled Alphabets charts the careers of León Ferrari and Mira Schendel, two twentieth-century artists who made language central to their dense, lyrical explorations of the visual world.
Francis Bacon was very private, not only about his personal affairs but also about the creative process that unfolded in his infamously chaotic studio.
Mongolian artists, freed for little over a decade from the long, dreary shadow of Soviet rule, employ a bold, in-your-face Genghis Khan kind of style that gives them my vote as the hip hop gangstas of the Asian art world.
If such a thing as the collective unconscious could be visualized in a work of art, the Y generations version of it is arguably portrayed in Ryan Trecartin and Lizzie Fitchs collaborative gallery debut.
Despite the fact that were now nearing the end of the first decade of the 21st century, there is still much to be said about doing things the old-fashioned way.
Judith Murray is a New York-based abstract artist who, in the course of her long career, has shifted from a graphic, hard-edged style and sensibility to a more painterly mode, increasingly enamored, as is abundantly evident, by the luminosity and versatility of oils, her preferred medium.