Her whole approach is an impressive refutation of a technical world. The gesture of the hand, with all its imprecision, is so very human. The messiness is a surprising oasis.
Amidst the rise of online viewing rooms for shows we might not otherwise see, Lehmann Maupin made the decision to provide us backgrounds to shows we have. In Developing TiME LiFE, the gallery presents studies (available for sale) as well as information from Hernan Bas about the process for his most recent fall 2019 show.
The charming critters by Iwan Effendi and Mulyana presented in Jumping the Shadow, curated by John Silvis at Sapar Contemporary, invite reflections on our empathy towards lives (that only seem to be) beyond our own.
The lighting for Gina Beaverss exhibit The Life I Deserve is Instagram perfect. That seems only fitting for paintings based on social media posts and aware that they will return there as #art #museum #artselfie or even, in a potential throwback to 2015, #museumselfie. The artists #Foodporn series from 2014 gets particular attention, though the newer series based on makeup tutorials had some snapping pics as well. All this begs the question, what are we looking at?
Moving past familiar questions about art, machines, autonomy, and authorship that have been around since the invention of photography, the generative artworks on view through Kate Vasss website offers a chance to think about our respective starting points, the steps we take, and how rules apply in this game of life.
Online exhibits provide a different viewing experience. If all these works were in the Lower East Side gallery, you might walk in, look around, occasionally watch one of the time-based works, perhaps put on headphones for sound, and meander to the next piece. The online configuration asks for greater engagement, something that surprises many by requiring a conscious commitment to the work.
Hart travels in hyperreality, thinking through media archeologies and post-photographic practices, but is also a draughtsperson and painter. All of this merges forcefully in bitformss exhibit, which recognizes the failures of so many Eurocentric utopias, and yet engages modernism in a way that releases any hold those artists, designers, political and cult leaders once had.
Mary Mattinglys recent photographs in Pipelines and Permafrost stitch together a story of geologic deep time for the imagination. The New York-based artist has always woven ecological concerns into her public works and photography practice, committed to helping audiences question how the land and water resources as well as the products and presumptions of our lives came to be.
In The Archive to Come, curators Clark Buckner and Carla Gannis invited artists to contribute a work of their choice that responded to questions of loss, memorialization, crisis, and re-invention questions about what we value and want to preserve as we work to recover from their ravages and build for the future.
It is a cathedral to art, and Reed has produced altars to the art and history of painting. Only that makes them sound serious and stern, possibly boring, and these are not that. Most notably, there is humor throughout.
Computer graphics is a young and new way of aesthetic communication; it integrates human thinking, mechanical handling, logic, new possibilities of drawing, and incorruptible precision of drawinga new DUKTUS! So wrote Manfred Mohr in 1971 celebrating this duktus, the Latin term for handwriting, also used in German to acknowledge the individual peculiarities of a medium or someones style.
McCullerss work evokes a sense of alienationboth from society and, crucially, from oneself. However, to many she also represents an enthusiastic, if not necessarily fully consummated, embrace of her own desires.
The figures falling off walls in Robert Morris. Monumentum 20152018, at Romes Galleria Nazionale, seem like an extension of the Baroque citys architectural and sculptural tradition. The works in this show's situation in Rome provides a different set of perceptual relations than when the same body of work was displayed in New York.
Looking back, I think I started reading stories about art because I tired of eros and arate. In the wrath of The Iliad or Woolf’s The Waves, through the passion of Shakespeare’s Romeo and Juliet or Nabokov’s Lolita, humanity’s highs and lows were exhausting.