Commemorating the centenary of the armistice of the First World War, the Tate Modern presents Magic Realism: Art in Weimar Germany 1919 1933. Comprised substantially of loans from The George Economou Collection, the show attempts to revive the overlooked artistic term Magic Realism, while also exploring the changing fortunes of the short-lived Weimar Republic.
This exhibition at the Museum of Contemporary Art Chicago takes up the Westward expansion of the art world in three generations of Midwesterners, tracing the lesser-known histories of a now well-established artistic milieu in an effort to set the art historical record straight.
The most revealing painting in Ella Kruglyanskaya's show at Gavin Brown's Enterprise is Painter, Discontented (2018). The seven-foot-tall oil depicts a painter in messy negligee sitting before a canvas, onto which a few marks have been splashed from the brush in her hand.
Cameron Rowland's exhibition, D37, is bookended by two slowly searing works that rewrite how we look at art and public policy. Using artwork budgets and legal research, Rowland reveals the city of Los Angeles's role in the violent displacement of the poor and people of color.
Raha Raissnia’s atmospheric new paintings, drawings, and projections share much with the work she exhibited at The Drawing Center last winter.
Though her first East Coast solo exhibition is formally promoted as featuring three of her recent photographic series that explore the complexities of national identities and memories in former USSR territories, the brilliance of photographer Mila Teshaieva's show lies not in the expansive and consciously composed photographs alone but in their total installation.
Boyhood is the theme of this elegantly installed show although whether or not it is that of the artist Enrique Martínez Celaya is unclearpurposefully so.
Depending on who you ask, when the sun goes down, it's time to head home or hit the streets. The nighttime is for resting up for tomorrow, seeing a loved one, working late or dancing until daybreak. It's also for delinquents to slink around casing a joint, and for bigots to hide as they carry out hate crimes.
New Soul is Erik Parker's second exhibition with Mary Boone. Once again we may experience the artist's penchant for bright flaming colors and zany surfaces.
If Wright’s “new tide” embodies the wave of social change that engulfed a segregated 1940’s America, Gordon Parks was an essential gravity that washed the revolution ashore.
This traveling retrospective, which recently left the Barnes Foundation, focuses on Morisot’s portraits of women and girls. They are some of the most remarkable portraits ever painted.
Rarely has an exhibition left me feeling equal parts incredulous, awestruck, anxious, melancholic, nauseated, and peaceful. Perhaps never, actually, until this past December, when I saw 60 of Gaylen Gerber’s “Supports” at the Arts Club of Chicago.
In the story of the Tower of Babel, God punishes the Babylonians for pridefully attempting to build a tower tall enough to grasp Heaven. He fatally confuses them by introducing varied language to a homogenous global tongue
Upon entering the apartment gallery, the resonant sound of a slowed-down clock pendulum conjures a sensation of time slipping slowly away, similar to the attenuated experience we may associate with waiting.
While critics have argued that Richard Artschwager was an artist whose works alternated between Pop, Minimalism, and Conceptual Art, there was little doubt he possessed his own singularity removed from the fray.
In the exhibition Jeanne Silverthorne: From Darkness the top floor of the Marc Straus gallery is dominated by a singular object: Untitled (Chandelier) (1994), cast in resin.
Archie Rand glides onto the scene, part mystical rebbe, part Diogenes, carrying a lamp, by day, which he shines in our faces, in his search for an honest man.
Though he pays careful attention their formal qualities, sourcing objects based on their color, surface quality, or other aesthetic affinities, Thornton also chooses objects according to more specific criteria, tending to favor those that are quite cheap, and have some kind of subcultural connotation.
The sound of James Baldwin’s voice greets visitors first. It originates from a Victrola record player, unceremoniously placed on the floor in the back of the first room, which plays a 1932 recording on vinyl of Baldwin singing “Take My Hand, Precious Lord.”
Kathy Acker is a writer whose readership has never gone away, even after her death at age 50 in 1997. There’s some strange margin of the literary world where queers, punks, riot girls and avant-gardists have found reasons to keep turning to her.
In October 2018 fifty-five percent of Brazil’s voters chose to elect a far-right president. It is unsurprising that a country shaped by colonial thinking, marked by a horrific history of slavery, and mostly controlled by white oligarchies would adhere once again to such forces.
Many years from now, but surely fewer than one wants to think, those of us who survive ecological collapse and the technocratic reformation of the global economy will remember Pierre Huyghe (b. 1962, Paris).
Forest Law is a groundbreaking exhibition on imagining altering our course as we face runaway global warming and unprecedented environmental destruction.
William Blake’s poem “The Sick Rose” describes the destructive power of a “dark secret love” on a flower’s “crimson joy.” This nefarious force is both eroticized and made phallic in being depicted as an “invisible worm.”
Some artists and exhibitions can be summarized into a set of statements, the fundamentals of the work distilled. Bruce Nauman: Disappearing Acts is not among those.
Dana Schutz apparently found the title for this splendid show in the Turtles’ 1967 saccharine hymn to togetherness of the same name. No one is likely to become enraged over this appropriation. But it reminds us of the absurdity entailed in the very idea of appropriation, that somehow subjects are the exclusive property of some artists but not others.
In his doctrine of anámnēsis, or recollection, Plato makes a distinction between eternal Forms and their resemblances in human perceptions.
The most radical aspect of James Siena’s aesthetics, extending from his earliest works, is that he foregrounds the empirical impulse.
The title of the Met’s new ongoing installation, Epic Abstraction: Pollock to Herrera, suggests a revisionist take on the history of abstraction since World War II. However, the show is drawn almost entirely from the permanent collection, which is simply not broad enough in this area to fulfill such an ambitious promise.
Last fall, the United Nations issued a grave pronouncement: If we don’t act now to reduce greenhouse gas emissions, we risk crossing the point of no return by 2030.
Perhaps best known for his canonical essay linking Abstract Expressionism to America’s postwar hegemony, Max Kozloff has left an indelible mark on art history and art criticism, informed by his own practice as a photographer and painter.
In the course of fifty years of exhibiting his art, David Rabinowitch has come to be known for his rigorous empiricism, flinty intelligence, and serial investigations into the organizing operations of perception.
In this show of nine canvases, all painted in 2018, EJ Hauser mines an ever-shifting vocabulary of form. The language here lies somewhere between literal and mythological, spoken and remembered.
What can an abstract painting represent? Rochelle Feinstein offers a plenitude of answers. Image of an Image is the most challenging retrospective that I have recently had the pleasure of viewing.
On a bleak, late December afternoon in late December, the heavy door to Pioneer Works in Red Hook gives way to a dark stairwell that serves as the gallery’s vestibule. Overhead, an imposing video monitor holds a silent black-and-white image of a hand, palm open, fingertips twitching in and out.
Nonchalance and elegance, speed and subtlety, all come together in Janitz’s work.
The point of painting in a digital age is not to rehash what’s already been done, or what a camera or computer can do better, but to twerk reality at the behest of curious, exploratory minds.
Lyle Ashton Harris has channeled many memorable personas over the course of his thirty year practice.
A few years ago, I found myself hunting in a bookstore for the last copy of Wolfgang Hilbig’s latest translation.
Under Erasure is a timely, wise, and expansive exploration of the idea of erasure from all angles in visual art and textual practice, particularly poetry.