The work of Finnish photographer Sanna Kannisto explores the complex space that exists between the natural world and those humans who desire to isolate, possess, and understand it in some way.
Despite Roberta Smiths gushing review of this showfinding the works stately, architectural, fairly erupt[ing] from the gallerys floorsmy own feeling was, Poor John Chamberlain, how did he fall so far?
In the film Chinatown, Roman Polanski (playing man with a knife) slices the nose of Jack Nicholsons character, Jake, requiring the detective to work with a white bandage covering the center of his face.
What could possibly be cuter than a mouthless, anthropomorphic cat with an improbably giant head, donning a festive hair bow and wee overalls? Well, how about two of them, eternally guarding your cherished pets tomb in unblinking vigil?
By any standards, Ryoji Ikeda has been given an all-access pass worthy of rock star status: A pair of 40-foot tall screens for his black-and-white visuals; all 55,000 square feet of the Wade Thompson Drill Hall to fill with his stripped-down, sonic sounds; and the blessing of the Park Avenue Armorys president and executive producer, Rebecca Robertson, to get loud.
Why is it easy to conceptualize a physical sensation but incredibly challenging to feel a concept? As an example consider movement, or more specifically, moving along in a vehicle, a car lets say.
As the source of the Berlin-based Norwegian artist Øystein Aassans second solo exhibition at PSM Gallery, a quote from Barnett Newman is cited: The painting should give man a sense of place: that he knows hes there, because in that sense I was there. Aasan achieves this sense of place through a very literal emphasis on making and context.
A floor apart from the mid-career retrospective of Glen Ligon at the Whitney Museum, a gallery-turned-sanctum offers its own glimpse into black experiencein a manner apart from the literalism of Ligons neon signs flickering AMERICA.
I honestly cant say if the Soutine / Bacon exhibition is a great one, but it clearly reveals something about the enigma of painting. More specifically, it is the kind of enigma that slides between representation and abstraction, yet still manages to hold its painterly ground on all sides.
Most of us toil away, day by day, grinding out an existence, our lives punctuated occasionally by small events.
The work of British artist Gillian Wearing resides somewhere in the intermediary space between documentary staging and the complex aesthetics that categorize contemporary fine art.
By Cassandra Neyenesch
"The magic black of an open barn door on a really sunny summer day, when you just cannot see into it."
When I first saw Matthew Millers portraits at a group show at Centotto, I thought they seemed to combine aspects of northern Renaissance portraiture and Mexican black velvet paintings.
Alan Shieldss operative medium is pure color. His passive, infused, or diluted application of paint through tints, prints, stains, and stencils leaves his work vulnerable to the conditions under which it is viewed, bringing to mind the seacoast or a broad expanse of field where the light and weather are in perpetual flux.
Characterized by industrial zones, live chicken coops, and large, open spaces, Bushwick, Brooklyn can feel like a semi-agrarian environment where rising financial pressures have forced New York-based artists further east. But thats old news.
There are two parts to this exhibition. In the main gallery space Judy Ledgerwood has hung eight paintings, all 60 x 60, while in the north gallery she has completed a painting in tempera on three walls.
In the competitive maelstrom of 20th century art, philosophies became dogmas, and the dogmas outright manifestos. In the new century, many abstract painters are saying goodbye to all that didactic thinking and exuding a kind of calculated tentativeness.
When casually recountingin person, to friendsstories about this or that performance last night, I have often been teased about my proclivity for starting with the less immediately relevant details about who was there, how many, which audience members left halfway through, and whether someone looked back to tell me to please stop talking so they could more fully enjoy David Parsons.
On any given weekday, hacker turned artist Cory Arcangelfamous for burning the videogame aesthetic into the contemporary art canoncan be found hunched over a long table in his Brooklyn studio, staring into one of his three massive computer screens.
Around the time Goethe wrote his first bestseller, The Sorrows of Young Werther (and Thomas Paine Common Sense), a bizarre device became popular among tourists in the natural world: William Gilpins Claude glass, or black mirror.
Quite unlike the Whitney Biennial, the Tate Triennial, or the British Art show (a quinquennale), which are summations of a moment in a specific place, most biennialsVenice asideare dialogues or contrasts between the local and the international.