Lauryn Hill has just been sentenced to three months in jail for tax evasion. Two months earlier, the youngest Baldwin brother, Stephen, was given probation for the same offense.
Is it possible to stage acts of genuine transgression from within the museum or is transgression inevitably swallowed up by the institution?
But, Officer, this is where I want to live. Beyond barbed wire, unencumbered by quarterly taxes, too much a badass to ever again recycle.
A huge candle-lit space in a former Soviet chocolate factory. Oblong tables draped in white silk. Men and women in Prada and Gucci. In Moscow, access is everything. To get into the factory, you have to get past three different squads of lumberjacks in too-small suits.
When Christina Kiaer first translated and discussed Productivist theoretician Boris Arvatovs essay Everyday Life and the Culture of the Thing in 1997, the conditions for reconsidering the production of a socialist object seemed far from ideal.
Video is a filthy medium. The trade tool of porn and piracy. The first peek at the scene of a crime. The final lecherous glimpse at a night of debauch. Immediate gratification is the essence of its stock.
For anyone familiar with Alan Uglows paintings, transgression is probably not the first word that comes to mind. Uglow is an English artist who moved to New York City in the late 1960s and spent most of his career here.
When the police intervene in a work of art, theres a good chance something transgressive is happening.
Los Angeles in the late 1970s. Hotel California on the radio. Ponytails, bell-bottoms, and psychedelic sex.
What codes of painting remain to be transgressed? With todays flexible and permeable boundaries, how is it possible to infringe upon or go beyond? Are we at a point where painting has ceased to adapt?
Collaborative woodcuts made on paper and mounted on canvas, sculptures, collages, and drawings from twins Gert & Uwe Tobias occupy the ground floor of the Whitechapel Gallery.
One of the first works a visitor to the Gallery of Lost Art encounters is a drawing by Willem de Kooning. Most would not immediately think of this drawing as lost, or even worthy of art historical consideration in its own right.
With the words The quality of mercy is not straind, Portia lays out the principle that mercy is a one-size-fits-all concept; that charity and forbearance are to be shown to innocent and guilty alike; that mercy, like justice, is blind.
Breaking boundaries is basic to our notion of creativity.
My initial encounter with the work of Bruce Conner happened in the mid-60s when I was invited to see the short film A MOVIE (1958), screened in a church basement somewhere off a highway near Wellesley, Massachusetts.
Jonathan Schorsch is a walker between worlds. As an academic, socially conscious environmental activist, and a man keenly attuned to religious traditions, his artistic work often revisits the connection between the microcosm (our bodies, our minds) to the macrocosm (the planet, the universe).
Under the auspices of the exhibition series Raw/Cooked, Michael Ballou presents a smart and challenging installment within the Brooklyn Museums institutional walls.
Its theme might be older than the Venus of Willendorf, but Women proves that the female form can simultaneously reference tradition and cast it aside for an aesthetic suspended between rusticity and urbanity.
Maya Lin has long been known both for her protean practice, which spans the fields of architecture, memorial design, environmental earthworks, and studio art, and for the eloquence of her understated aesthetic.
Inside the Gary Snyder Gallery, a woman struck up a friendly exchange with another viewer about the current exhibition. They were strangers to each other but the connection seemed natural.
What to make of Sistos paintings of young women? They are titled Self-Portrait although, unlike her, the subjects wear their hair cropped short, are somewhere in their 20s, and in general bear no resemblance to the artist.
Paul Delvaux (1897 1994) at Blain|DiDonna is a mini retrospective of a major Belgian Surrealist whose last exhibition in New York was at the Julien Levy gallery in 1946 and culminated in scandal.
One of the profound pleasures of encountering great art is the detangling of endless threads of reference in ones mind.
Makoto Fujimuras recent paintings exist on the cusp of paradox.
The paintings in Don Voisines latest show at McKenzie Fine Art follow guidelines already established in his earlier work.
Hermes is a cattle thief, messenger, trickster, boundary crosser, and a god who represents a lot of artists.
Fei has worked continuously over the years on three separate but related series: Calendar, Manuscript of Nature, and Tracing the Origin.