Peter Saul and Sven Lukin are lone wolves in extremis. Both were born in 1934, Saul in San Francisco, CA, and Lukin in Riga, Latvia. They belong to the generation of Pop and Minimalist artists that began gaining attention in the turbulent 60s.
Paul Thek was an avant-god practicing his own religioncomplete with apostles (the Artists Co-op) and prophecies; much of his work was comprised of self-deprecating, grotesque icons crackling with a spiritual aura, funny, disturbing, and at times bizarre.
Paul Theks anxieties are baffling by contemporary standards. Todays artists record and broadcast their work ad nauseam. They post pics, clips, and audio files online, approaching documentation not as a secondary activity, as Beuys did when he first commissioned photographs of his performances, but as a central concern on par with the creative act itself.
The Merriam-Webster dictionary defines the term stet as a transitive verb, meaning to direct retention of (a word or passage previously ordered to be deleted or omitted from a manuscript or printers proof) by annotating usually with the word stet.
In celebration of the 20th anniversary of Jeff Koonss Made in Heaven, Luxembourg & Dayan chose to present a redux edition of one the most scandalous exhibitions ever held in SoHo.
Consider the lines with which Albert Camus opened The Myth of Sisyphus, his 1942 meditation on what he called the inescapable absurdity of human life: There is but one truly serious philosophical problem, he wrote, and that is suicide what is called a reason for living is also an excellent reason for dying.
Upon completion of the mural at Mexicos University of Michoacan in 1935, David Alfaro Siqueiros proclaimed, It is my honest belief that Phillip Goldstein and Reuben Kadish are the most promising young painters in either the U.S. or Mexico.
We are only as great as the sum of our partscopper, ash, mineral, carbon. These are the material elements that define, comprise, and typify human corporeality. They are also the materials which, given a certain set of political and economic parameters, can act to expose the dark side of the human condition.
When I look at Stanley Lewiss paintings, I see places Ive known. Though Lewis lives in Leeds, MA, to me these are New Jersey spaces, because those are what I know. They take me back to meandering walks through Teaneck, Montclair, and Bergenfield, to the familiarity of tree-sheltered suburbs with urban-scented air.
Among the group of German artists responsible for rebuilding their countrys culture during the postwar era, Anselm Kiefer is the most quintessential. Kiefer, who has lived in France for decades to (as he puts it) possibly have a better look at Germany, is the only one to vehemently tackle and obsess over what Germans cannot escape: their history.
Two exhibitions of Jill Nathansons work, Sacred Presence/Painterly Process at the Derfner Judaica Museum in Riverdale and No Blue Without Yellow at the Messineo Art Projects/Wyman Contemporary in Chelsea, give view to more than five years of her development.
The funny thing about mobile homes is that you see them parked more often than you see them on the move, which perversely makes it seem peculiar when you do see a mobile home being hauled along a highway. In New York, these trailers frequently serve as headquarters on construction sites, but rarely much else.
I caught Alternative Histories at Exit Art on the last day of the show. While I had avoided, for the moment, one of the hazards of a hyper-busy lifethe belated discovery that an important exhibition had already run its courseit felt especially wistful to visit this remarkably well-researched and well-presented excavation of recent cultural history in the hours before it vanished forever.
Its one thing to understand the empiricist philosophers notion that the observed and the observer cannot really be separated, quite another to vivify it through visual art. But in The Nearly Endless Line, a new installation at Sue Scott Gallery, Pat Steir does just that, with both subtlety and force.
Ornithogalum pyrenaicum or wild asparagus is to some a pernicious weed, to others, a rare delicacy. Every spring, after the snow melted and the days lengthened, my great-aunt Afton would scurry around the environs of her small farm on Bear Lake, Utah, searching river and canal banks for sprigs of the tender delight.
Since the railroad-style building next door to my apartment is adjacent to a parking lot, I can see its entire inside wall as a façade rather than a continuous row of houses. This bleached yellow vinyl siding is attached in foot-wide, horizontal striations that span the entire length of the building.
At Centotto, curator Paul DAgostino provides a conceptual link for each exhibition, inviting artists to respond to it any way they see fit. DAgostinos concept for the current show, featuring the painters John Avelluto and Josh Willis, is the palimpsest.
In Marion Cajoris keenly attentive 2007 documentary Chuck Close, one of the artists most frequent subjects, Philip Glass, states, Theres no such thing as a string quartet. A string quartet is what you happen to be listening to when a string quartet is playing.
When I saw Marco Breuers show, Nature of the Pencil, at Von Lintel Gallery, I was still visually hungover from seeing my first ever Dreamworks animated movie, about a boy who trains a dragon.
Theres the party and then theres the day aftereating leftovers and talking about the party with friends who couldnt make it. 179 Canal/Anyways has a little of that next-day feel. Margaret Lee organized 179 Canal/Anyways at White Columns as a non-retrospective look at 179 Canal, a collaborative wellspring of art invention she nurtured during a 15-month span starting in March 2009.
How to make an image but still construct a painting is the question that John Wilkins has repeatedly tried to solve over the years. Unless youre familiar with London painting at the end of the last century, it is unlikely that you know Wilkinss work.
In his first solo show in New York, Jorge Queiroz throws down the gauntlet and challenges the viewer to work. With his eerie and disjointed imagery, this Berlin-based, Portuguese artist determinedly reminds us that his creations are about the act of looking, and all that entails in a post-Freudian world.
Exhibitions dealing, in their very different ways, with 21st century abstraction opened in the first half of September here in Berlin. Nymphius Projektee presents a small survey of painting, hung salon-style, which looks at some conceptual and geometric tendencies in 1980s abstraction that still underpin much abstract painting today.