True to my first encounter of Fonsecas work, it has remained enigmatic, allusive, and mysterious decades later.
Carolee Schneemann’s art has radically re-oriented preconceptions about painting away from the primacy of the visual to the primacy of the haptic.
Land Art now helps us see the very best of the planet more resolutely: its innate drama and its benign disregard.
A focus on the multivalent nature of gender, neither fixed nor constant, suggests and produces responses that might flood any inquisitive mind or mapmaker.
The works that make up Serra’s current show reveal an approachability that’s surprising for a figure commonly associated with aggressive, even overwhelming, effects.
The acquaintance with whom I viewed Elizabeth Murray: Painting in the ’80s remarked that it appeared two artists were at work creating the paintings on view.
His dramatic camerawork draws out the luster of the bronze panels, and the audience is treated to an opportunity to examine their delicate detail in an intimate way.
While her earlier paintings consisted mainly of close-up renderings of man-made surfaces, her concern here is with measurement.
Monaghan’s show investigates the unicorn as a symbolic being, demonstrating in surprising ways its historical richness, multivalence, and relevance to the digital age.
While the divergences between their works, in genre, medium, and scale are huge, they are inextricably linked by a primal human need to keep alive memories—to say, “I was here and this is the way I remember how things were.”
Strange Muses I (2017) is remarkable on multiple levels. It was created not to show the here and now, but to take us into what could best be described as a liminal space...
The modern book is the product of a mechanical operation, the printing press, but as Internal Machine suggests, it can be considered a mechanism in and of itself.
Curator Saskia Spender, Gorky’s granddaughter, has installed over fifty landscapes, including paintings and works on paper from 1943 to 1947.
It would be difficult to come up with a more oblivious statement than “everything is okay.” We can read it as either a provocation—an offensively false assertion—or an expression of denial.
In his most characteristic works, Nuvolo stitched fragments of fabric together with a sewing machine to form an asymmetrical but carefully balanced grid.
By magnifying the stylistic, architectural, and compositional inconsistencies present within the original comic frames, Kelley highlights the vagaries and mythologies of memory—the tendency to forget and invent a (new) past.
The title of Seth Price’s solo show at the ICA, Circa 1981, suggests that Ronald Reagan’s presidency, which began that year, provides the thematic framework of the exhibition as a whole.
For nearly forty years, Hannah has worked in the figurative, narrative tradition of Winslow Homer or Edward Hopper.
Certainly, the drawings construct a visual world of specificity and independence. As time goes on, they may possibly be understood as efforts to sustain a cultural heritage that was not easy to keep alive.
Duke Riley has been cultivating a dialogue with a very specific nonhuman population for decades—pigeons.
The show serves as a genealogy of radical and feminist Latin American and Chicana art practices, and seeks to dismantle the received stereotypes of women in art through a meticulous deconstruction of a male-dominated sociolinguistic system.
For painters of this generation the war allowed for a break from the gravitational influences of Picasso and the School of Paris, the same break that would lend lift to the Abstract Expressionist ascendancy in New York.
Lin Yan, an established sculptor who has been living in New York since 1993, comes from a well-known artist family based in Beijing.
Sidelined for centuries, the voices of women strengthen. And protesting for decades, a former Guerilla Girl’s work finds new relevance.
Below the Underground, one of the many exhibitions included in the robust and multifaceted Pacific Standard Time: LA/LA series of programs supported by the Getty Foundation, stands out for its emphasis on feminist and anti-corporate strategies explored by artists in Mexico in the 1990s.
The Oscar Wilde Temple, a public installation work, is the latest in a vein of exhibitions that posthumously indemnify Oscar Wilde and commemorate the fiftieth anniversary of homosexuality’s decriminalization in the United Kingdom.
Every era has a gadget that speaks to the spirit of the times.
It’s amazing what a complete game-change results when the stretcher bars for painting go missing.
The spectre of collective labor haunts Agnieszka Kurant’s striking, timely exhibition at the SCAD Museum of Art.
This show is so right that it effortlessly hits the note of happiness and celebration, the major key Katz means to reach every time out.
This generous retrospective traces the development of an extraordinary career in color photography, from the late sixties until Singh’s sudden death from a heart attack in 1999.
Rather than an outright duel between fact and fiction, Dion demonstrates that the judgment more at stake has always been between truth and value and how we balance the two.
You really have got the old man,” Kenneth Clark told John Pope-Hennessy upon reading his study of Michelangelo. The “old man” (1475–1564, painter, sculptor, architect, and poet) seems always to have been the old man, always at the top.
The most remarkable artwork in Richard Serra’s recent exhibition, which included dense paint stick drawings and sculpture, is Four Rounds: Equal Weight, Unequal Measure (2017).
You walk around, you compare the weight of the sculptures with the density of the black in his drawings, the way the curves fit into one another, the way it has an impact on your mind, and physical state.
The exhibition at Londons Royal Academy of Arts reveals strong affinities and a surprisingly deep friendship between the two 20th century artistic legends.
Club 57 maps a set of underground attitudes and practices that have now gone mainstream.
Minouk Lim’s first solo exhibition in New York introduces the South Korean artist’s equally haunting and inquisitive practice with three bodies of work intertwined into a eulogy on loss and the consequential search for the missing.
The paintings in color and surface recall the American West, not as landscape painting, but as abstractions of light, heat, and surface.
In addition to Leonilson’s long-overdue re-recognition, the exhibition is especially appropriate given the many comparisons to be drawn between the present and the darker moments of the 1980s.
The title of Nina Chanel Abney’s exhibition at Mary Boone, Safe House, caught my attention almost instantly. In such politically charged times, not making a statement is often a statement in itself.
Kate Groobey has rehabilitated the zany. Not that she is personally zany or that her wonderful large-scale paintings are zany, but that she has brought back to artistic life the zany, the clown, the zanni or Gianni or Giovanni of the Commedia dell'Arte.