Throughout his career, Trevor Paglen has made artwork out of the “invisible.” An expert in clandestine military installations, Paglen has trained his eye on places and programs that, officially, do not exist—from military black sites to NSA headquarters, drone surveillance to the CIA’s abduction outfits.
Minimalism and Beyond takes its title seriously: an emphasis on ‘beyond’ informs Mnuchin Gallery’s liberal selection of works, and lets surprising, productive connections develop. That said, the conventional narrative of Minimalism’s origins in the early 1960s and its evolution into Postminimalism later in the decade is well represented.
With a distinctive combination of documentary storytelling, slapstick humor, and cartoonish animations, Meriem Bennani transforms the main gallery of the Kitchen into a theater of the absurd with her spectacular new video installation, Siham and Hafida (2017).
Tiffany Jaeyeon Shin's exhibition Like Water and Oil Never Assimilating (2017) is simultaneously an education on racist American history and an ongoing effort to tend to its casualties.
In her impressive debut exhibition at Pace Gallery’s recently opened space in Palo Alto, Loie Hollowell compresses powerful, evocative images into highly crafted objects.
Her offering this fall, “Sikkema Jenkins and Co. is Compelled to present the most Astounding and Important Painting show of the fall Art Show viewing season!...,” (the title is too long to reproduce in full) presents a set of new and urgently drawn canvases and works on paper.
On its surface, Redress (2015) by Lucas Michael refers to nothing specific. The sculpture consists of three neon bands shaped into an open rectangle with the lower line missing; the bands all emit a searing light red hue.
Walking down the slot canyon of Vandam Street and into the mini-cavern of the Kate Werble Gallery and Michael Berryhill’s show of recent paintings can have the effect of discovering a fecund microclimate of crystalline flora and fauna nestled among the bleached, late summer-bones of lower Manhattan.
In Selah, Sanford Biggers’s first solo exhibition at Marianne Boesky Gallery, the African American artist continues his ongoing exploration of African power figures and his carefully formalist work with antique quilts.
The art of insurgency is on full display in Resurgent Histories, Insurgent Futures, an exhibition about cultural guerrilla warfare at the Slought Foundation in Philadelphia.
The exhibition of new paintings by Louise Fishman sent me looking back through her previous catalogues. She’s been painting for more than fifty years. Are the paintings getting even better?
It’s amazing what happens when you dress up a dog. Put a blonde wig on a Weimaraner. Give it a top hat, dress it in elegant furs or a Hawaiian shirt, step back for a moment, and take a look.
Mira Schendel was born Myra Dagma Dub in 1919. A Jew by birth, Schendel’s mother had her daughter baptized at the Church of St Peter and Paul, raising her in Milan as a Roman Catholic where she studied art and philosophy.
Still life is a time-worn but hardly vigorous genre at the moment, but Athens, Georgia-based painter Holly Coulis has been inventively tweaking its terms, and never more so than in these new playful and precise works.
Patience is often spoken of casually, but, in fact, it is a hard skill to master. In Gibbous, his fourth show at Brennan & Griffin, Naotaka Hiro has seemingly done just that. In making his latest works, Hiro lets his mind wander, exploring different ideas as they appear, in a patient meditation.
A woman falls from heights unknown. We see her from below. She wears a blue bikini, marked by red hands on her breasts and red hearts on her pubis. Behind her in the distance, neon rays the color of sunset hours burst forth at dynamic angles into the black nothingness that surrounds them.
The exhibition title is a play on two simultaneous traditions: the modernist charge to flatten illusionistic space and the “flat top” hair cut popularized during the Def Jam era of hip hop.
NSFW: Female Gaze is a large thematic group exhibition at the Museum of Sex, curated by Vice’s Creators’ editor in chief, Marina Garcia-Vasquez, and Museum of Sex’s associate curator, Lissa Rivera.
From August 12 – November 19, visitors enter the domestic bliss of Thomas Cole’s Federal style home and are immediately greeted with the sensibility of his 21st century catskill neighbor, the multidisciplinary artist Kiki Smith.
How is satire even possible in the age of Tr*mp, when his words and deeds, in their shamelessness, parody themselves? Peter Saul’s new paintings, with their hyperactive, surrealist blend of Pop Art, art history, and political commentary, gave a pretty good answer in his latest show, Fake News.
Los Angeles based artist Amir Nikravan has taken a singular, pill-like form he encountered in Pasadena’s Stuart Building—a site originally known as the Stuart Pharmaceutical Company Office and Plant (1958)—and he’s given it a treatment of rupture and reconfiguration for Rational Design, his first solo show at Karg Gallery.
Hello, I’m writing in response to the recent review by Ian Cofre of Amir Nikravan’s exhibition Rational Design at Nathalie Karg Gallery.
As a general principle, artist-curated exhibitions can be untidy and idiosyncratic in ways that museums and the market abhor, and this can make them interesting, disorienting, dissonant—even iconoclastic in the best instances.
Fatherhood, compared to motherhood, remains less-charted terrain. Family Portrait, Aneta Bartos’s first exhibition with Postmasters Gallery, delves into the artist’s relationship with her father, a former bodybuilder living in central Poland, with photographs full of vigor and vulnerability.
In his current exhibition filled with formally precise artworks using a clear set of visual tropes—typewriters, sharp objects, and books—one work by Mounir Fatmi feels incongruous: a small, slightly blurry black-and-white photograph of a man sporting an Adidas satchel standing next to a glowing circle on the ground.
Goya’s prints and Eisenstein’s 35mm films serve as an introduction to Longo’s massive charcoal drawings.
Not far apart, about two minutes or a bit more by foot, depending on what friends you see along the way, are the two present exhibitions at Paul Kasmin Gallery, at 293 and 297 Tenth Avenue.
In G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg), hard- edged geometries filled with solid colors converge with organic lines to create vaguely figurative forms. While these figures might possess an actual leg, they’re denied the legibility of a human framework by the rest of their “bodies,” which are comprised of airy geometries loosely tethered in a kinetic fashion. In the painting G.S.F.C. #2, the form appears to be almost squatting, or hopping, with knees spread wide. The sharply bent knee in G.S.F.C #5 lends the subject a rather balletic quality, while the geometries of G.S.F.C.
Curated by Alexandra Fanning, the show includes two video works by Thai-Australian artist Kawita Vatanajyankur and an ongoing sculpture-performance by the Brooklyn-based Russian-American Liza Buzytsky.
Ad Reinhardt is known as an artist of extremes. While committed to abstract painting that became infamous for its austerity, he also had an expansive curiosity about art and the world. He was a vocal critic of the art market and his peers, as well as a proselytizer of art and architecture from disparate regions and periods, which he obsessively photographed for slide lectures.
This presentation at David Zwirner Gallery is the largest exhibition of Ad Reinhardt’s blue paintings ever assembled, and the first dedicated to them since a seminal 1965 show at the Stable Gallery.
1943, the year Roosevelt, Churchill, and Stalin met in Tehran to discuss their war strategy, Ad Reinhardt made a deep blue and green oil painting that is the earliest work in this Zwirner Gallery exhibition.
At the Agora Gallery, there opened "an immersion exhibition" entitled FIAT#LUX where Chantal Westby's paintings merge with Lénaïc Mercier's multi-media installation, in a length of light.
Theophrastus is thought to be the first person to send a message in a bottle out to sea. In 310 BCE, in an attempt to prove the water in the Mediterranean Sea flowed from the Atlantic Ocean, the Greek philosopher sealed a message in a bottle that asked its recipient to send word from wherever it was found.
Los Angeles-based artist Amanda Ross-Ho has built a career focusing on the studio as locus, metaphor, and container for the creative process. Keeping her interests tethered to this line of inquiry has given her the freedom to cover a swath of art practices including sculpture, painting, photography, installation, and performance.
In the Islamic Golden Age, Turkish engineer Ibn al-Razzaz al-Jazari wrote a proto-Borgesian text called The Book of Knowledge of Ingenious Mechanical Devices (1206).
I know it is futile—an impossible dream—for me to join Mark Thomas Gibson’s NRA (Negro Rifle Association), but longing is a major component of the magic associated with comic books.