Jill Mosers second show at Lennon Weinberg represents an expansion and development of the compression and release style that is something of her signature.
Ive recently been thinking a lot about the Museum of Friends (MOF), located in the former coal mining town of 4,000 in Walsenburg, Colorado.
The current (Summer 2010) issue of Aperture magazine contains a curious article written by Andy Grundberg, former photography critic for the New York Times and now Associate Dean and Chair of Photography at the Corcoran College of Art and Design in Washington, D.C.
Twelve years ago, New York artists Adam Ames and Andrew Bordwin of Type A began examining masculinity through the lens of their individual experiences. But changes in the citys cultural landscape following 9/11 and the economic crisis have broadened their works purview, bringing unexpected political implications to past installations and infusing new projects with cutting social commentary.
In a recent essay titled D.I.Y. Culture in the New York Times, Michael Kimmelman argued that the fluid exchange of information inaugurated by the age of globalization isnt homogenizing world cultures as many expected it would, but rather tribalizing them.
No one could accuse Hammershøi of being upbeat. And yet the light seen coming through the windows in certain interiors is the equivalent of a smile. And the doors are usually open.
In the recent spate of articles about Bushwicks innovative DIY arts projects and spaces, artists almost invariably cite Austin Thomas as a key early influence. Thomas opened Pocket Utopiaher groundbreaking salon, international residency program, and exhibition space in the neighborhoodin 2007, while the art market was still safely and unadventurously ensconced in the airtight studio/gallery bubble.
The story of Carmen Herreras life and work has been spreading. The talented and once undiscovered 95-year-old geometric abstractionist had a mini-retrospective in England with a handsome catalogue and a New York Times review last year that brought her story to the fore.
In 1962, self-taught art world dissenter Edward Kienholz shocked the L.A. art community with the exhibition of his first walk-through tableau, Roxys. Exactly 48 years later, this gallery sized installation, meticulously reconstructed and visible through the aperture of two panoramic windows at David Zwirner, has lost none of its staying power.
It would be easy to dismiss the overly explicit art historical references in Penelope Umbricos work as defensive; the actual material is composed of images pulled from Craigslist and eBay, so intellectual weight needs to come from somewhere, right? But that would be a knee-jerk reaction to press release languageJudd-like for examplethats no worse than average.
Dorothea Tanning, the last surviving vintage American surrealist, is too-often remembered as the widow of avant-god Max Ernst, but shes so much more. On August 25, she will officially become a centenarian, her laser-like wit and unmatched talent still very much in evidence.
Kathy Butterly is an American original whose closest forbearer is George Ohr (1857-1918), The Mad Potter of Biloxi. The formal traits she shares with Ohr include a penchant for crumpled shapes, twisted and pinched openings, and making (as Ohr was understandably proud to point out) no two alike.
In 1961, while living on Edisto Beach, off the coast of South Carolina, Jasper Johns bought sheets of plastic from an art and drafting supply store in Charleston.
Between the late 1960s and the mid-1980s, in Kyjov, a small city about 160 miles from Prague, a dirty, unkempt man wandered the streets daily, carrying contraptions that resembled cameras. His neighbors, depending on their level of faith in the communist ideal of civic progress, considered him either a harmless old coot or a stain on society.
Once upon a time, when web space was still considered vacuous and alien, avatar meant something very different from the cat-eyed, loping creatures of James Camerons imagination. But oh, havent we evolved.
Memory, like the memory of Kata Mejías brother, murdered by FARC paramilitary guerillas, restores nothing. Emotionally feral and disoriented, it re-imagines the past, which only serves to distort it further.
My, how things have changed. After arriving in the center of the art world to study and spend a couple of years compiling a portfolio, I began the daunting task of visiting galleries and trying to get dealers interested in what I was doing. Responses ranged from, How long have you been in New York?
The most gripping urban sci-fi center I have visited in recent years would have to be Shanghai. During a recent third jaunt to this hot-tempered, digitally propelled architectural Mecca, I understood that nothing stays the same.
Resister Camus on the streets of Paris in 1944. Gandhis ashes on a train. China in transition, 1948-1958. The military in Iran in 1950. A non-judgmental camera, maybe, but a trenchant triggerman.