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We enter the Neubergers expansive, darkened gallery and are drawn close to the large, complex sculptural installation that is Donna Denniss Coney Night Maze.
There is an innate humanness embedded in the way we respond to light. Like a plant leaning toward the open window, we too are drawn to the physical and emotional warmth gleaned from a luminous glow.
In the mid- and late 1970s, a small group of young men and women in London and New York created a remarkably individual style of dress and music. The punks believed that by D.I.Y. (do it yourself), they could provoke revolutionary change.
Insouciantly titled A Hole in the Wall is Nothing to Worry About, this is the artists first U.S. exhibition, and with its playful boundary-crossing between seemingly fixed categories and impish reversals of conventional hierarchies we are goaded into a kind of awareness that transcends dualistic thinking.
Even though it has been three decades since the emergence of the term sound art, the genre is still in the process of gaining a sustained presence in the New York art world.
With The Decline and Fall of the Art World, Part I: The One-Percenters, Freight + Volume assembles several subversive gestures that expose the various dysfunctions and inequalities of contemporary art production.
When an exhibition titled Tempus Fugit surfaces, it would seem wise to gird the loins for another pageant of pretension that aspires to the hermetic yet achieves only self-parody.
Michael Heizers immense earthwork, Double Negative, is experienced less as the sculptural presence of an object than the sculpted absence of a void.
By aiming four projectors at four sides of a cube made from screening fabric, a jerry-rigged tesseract is generated: a four-dimensional cube or a cube projected upon itself.
Though the title, Chick Lit elicits a literary genre limited to saccharine storylines and prescribed female roles, it hardly indicates the range of serious conceptual and intertextual strategies that many of the contributing artists employ in this show.