“Architect/arcetects/arcatects/arcetects/archetes,” Agnes Martin wrote at the bottom of her notes in 1974. The rest of the page is a tangle of equations and small diagrams with which the artist, having relocated from New York to New Mexico, began another burst of producing her iconic striped canvases.
Slavs and Tatars, perhaps the smartest artist collaborative around, have returned for their first New York exhibition since Beyonsense at MoMA (2012).
And the nominees are: Anthea Hamilton, Helen Marten, Josephine Pryde, and Michael Dean. The public presentation of the shortlisted artists combined with the long run-up to the announcement of the winner always makes the Turner Prize a horse race of sorts.
When the New York poet Eileen Myles appeared in a brief cameo in the second season of Transparent, it felt like an experience of New York City had been turned inside out.
The photographs in Sally Mann’s exhibition Remembered Light: Cy Twombly in Lexington are radically different. For a dozen years, towards the end of his life, Twombly worked half the year in Lexington, Virginia, the small town where, like Mann, he was born.
What was Berlin in the 20th century if not an outlier-exemplifier, what with that city’s extreme history of occupation, splintering, reunification, multiculturalism, and global emergence? It is small wonder, then, that this city should be the site of one of the more polarizing art events of the 21st century.
Inspired by Nietzsche and Malevich in his precocious development as a geometric abstractionist, Hélio Oiticica also absorbed some of his entomologist father’s scientific precision.
Black first became stylish in western art in Rome in the beginning of the 17th century through the paintings of an artist from near Milan, Michelangelo Merisi da Caravaggio.
What’s in a beard? Certainly, when considering the surfaces and materials of Jean Dubuffet’s mature works, the word “rebarbative” (from the Latin barba, meaning beard) comes to mind.
Comprising a total of forty-five medium-sized photographs, La Calle (The Street), presents highlights culled from more than forty trips that Alex Webb took through Mexico between 1975 and 2007.
Karen Gunderson’s most recent large-scale, black works on canvas serve as a reminder that despite the growing shifts in internet and digital art, pure painting still has the capacity to animate a space with movement and vibrancy.
About four minutes into Camille Henrot’s short film Grosse Fatigue (2013), a small popup computer window hovers over others in the center of the screen.
Across the board, Caitlin Keogh’s work appears at first formally sound and visually engaging. Her paintings, rendered in flat acrylics, display a surface sexiness that draws the viewer in, underscored by a sophisticated color palette.
For this exhibition Parc Natural at Galeria Trama, curator Frederic Montornés returns to the writer Georges Perec’s book Espèces d’espaces (Species of Spaces) (1974) that he freely interpreted for his 2015 MACBA (Museu d’Art Contemporani de Barcelona) exhibition in 2015.
When exactly did postmodernism begin? For that matter, has the question of when modernism began ever been resolved?
Breathing Lights is a large-scale, multi-city public art installation that aims to draw attention to vacant residential buildings in the Capital District of New York State.
Dazzling, trembling with such exactitude, / Clench, clutch, clasp, spellbindingly hugging / Each of these mountains was precipitously made / With flawless fibula.
In his landmark essay The Hedgehog and the Fox, Isaiah Berlin carved out two intellectual and artistic temperaments: those who view the world by relating everything to a central, singular and specific vision, and those who thrive on a broad mélange of experiences.