Davina Semos sculptures have recently been shown in three concurrent New York exhibitions. Marlborough Chelseas extended public art installation, Broadway Morey Boogie, is on view through April. A solo show of the artists work, called HOLDING THE BAG, was at Rawson Projects through February 1st, and a two-person show with David Flaugher opened at Greenpoints U.S. Blues Gallery February 7th to March 8th.
Olivier Mosset isnt really an abstract painter, because his paintings arent abstractly real. This might seem like a tautological game, but it is actually at the root of Mossets raison dêtre.
See the video of A Panel on Painting, hosted by Hunter College and the Brooklyn Rail.
Laura Hoptman is an old hand at finding new talent. Time and again, Hoptman has shown that she has a good eye, a searching intelligence, and a sense of history. Years ago, during her first stint at the Museum of Modern Art, she introduced many of us to Maurizio Cattelan, John Currin, and Luc Tuymans.
Nothing sums up the ephemeral nature of MoMAs attempt to make a statement about painting today better than its title, The Forever Now. The phrase implies no history and no future, no past and no evolution.
Kerstin Brätsch, Blocked Radiant.Before you even go in, on either side of the doors, you encounter this oxymoron: the doors are not blocked, but they are surrounded by panels designated as blocked. Wow.
In an instance of spectacularly unfortunate programming, The Forever Now: Contemporary Painting in an Atemporal World shared the first two months of its exhibition life on the Museum of Modern Arts sixth floor with Henri Matisse: The Cut-Outs.
Ive now written two reviews of Ho, Ryder Rippss debut show at Postmasters. The first, in which I discussed the merits of the canvases, and how and why they were created, I chose to rewrite after I discovered that many pieces of information available about the show online (some of which factored into my original evaluation of the work), were fabricated by Ripps himself. More on this later.
Mathias Polednas 35mm film about a watch has no meaning. No clues are planted in our path to prompt the busywork of iconographic analysis. No personal mythology is affixed to the watch.
In his book, Sculpture: A Journey to the Circumference of the Earth (Broken Jaw Press Inc, 2004), sculptor Robin Peck travels far and wide, immersing himself and his readers in foreign landscapes to ruminate on the nature of sculptural experience.
The 10 artists featured in Picture/Thing, an exhibition exploring the relationships between photography and sculpture, unleash art historys most beguiling trickster: The Photograph.
Chinatown is a harsh place in winter. The bitter wind rushes sidewalkers to their destinations without letting them breathe the permanent funk of raw fish markets or linger in the charming complexity of the souvenir shops.
When the 2013 Moscow Biennale staged a conversation between Ilya Kabakov and John Baldessari, there was a residual gravitas that accompanied their situation. Here sitting beside one another were two pivotal figures in the conceptual turn of 20th-century art, each one straining to understand the other through an oversized handheld telephone.
Recently graduated from Columbias illustrious M.F.A. program, Heidi Howard has made a suite of beautiful, delicate paintings for her first solo show at Nancy Margolis Gallery.
John Zuriers work has been moving toward a sturdier sense of individuality, complicating his frequent categorization as a monochromatic painter. The works in his current showthe Berkeley-based artists fourth at Peter Blumassert themselves as a cast of characters.
Dan Walshs exhibition at Paula Coopers 21st Street gallery presents a two-decade overview (1994 2014) that includes paintings, works on paper, mixed media pieces, and artist books.
Convenience demands that a 65 year-old American artist with more than 30 years of exhibition history, bolstered by one of the longest-operating contemporary galleries in the world, would overpower (in visual and literal modes) a 36 year-old German academic and painter who has never shown in New York before (with San Francisco being his only other American host city).
On the opening night of The Unplayed Notes Museum, Loris Gréauds first solo museum show in the United States, guests sauntered around the Dallas Contemporary until a group of people, up to that moment hiding in the crowd, descended upon the art, ripping it from the walls, breaking it into pieces.
If the power of contemporary art lies in its propensity to both reflect and give shape to the consciousness of our times, one might expect to find it laden with signs of cultural transformation.
Imaginary boat floating above a still life. / Concavity pressures the space of / What appears to be a cloud-like form, provides / A dry hot day to its absence.
Exhibition making is far from rocket science, yet books, master’s programs, and magazines suggest a genius in curation. GDA1anonymous, the current exhibition at Envoy Enterprises, exemplifies the pitfalls of the craft’s recent glorification.
The flurry of reviews accompanying the opening of Indonesian artist Entang Wiharsos solo show indicates that the New York art world is now ready for an influx of culture from Southeast Asia.
With a shift of one apostrophean almost unmentionably minor mistakewe move from the precipice of the wild to a land of no iron slacks.
In 1978, when Francesca Woodman was 20 years old and beginning a life as an artist, John Berger wrote “Uses of Photography.” In the essay, Berger distinguishes between two functions of the medium: private and public.
This exhibition of Paul Cézannes images of his most frequently portrayed model, his wife, Hortense Fiquet (1850 1922), includes 24 of the 29 known paintings of her, three watercolors, fourteen drawings, and three sketchbooks.
In Practice: Under Foundations surveys diverse media through the lens of foundations and other raw, basic, and structural forms. The exhibition was curated by Jess Wilcox, the 2014-15 SculptureCenter Curatorial Fellow. Wilcox commissioned 11 artists to present pieces that analyze what lies beneath a works exterior.
Spaced at generous distances along the walls of Franklin Parraschs cleanly-renovated Upper East Side townhouse, nine of Ron Coopers lacquered Plexiglas Vertical Bars, each 8 x 3 5/8 x 3 5/8, stand guard over the mute transmission of light passing through the gallerys lavishly open space.
An early explorer and originator of Conceptual art, Robert Barry has been making artwork that probes absence, or what we perceive to be absence. The exhibitions title speaks directly to this notion. It comes from a penciled wall piece, All the things I know but of which I am not at the moment thinking1:36p.m.; June 15, 1969 (1969).
The Paleolithic caves of the Dordogne, clustered around the town of Eyzies-de-Tayac, are still accessible to the general public, with the exception of Lascaux, which has been replaced with an exact reproduction, Lascaux II. In January, there are no lines.