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?
Year Zero offers a compelling argument for dismissing distinctions between physical and digital art as Auriea Harvey's digital and material practice merge in this impressive body of sculptural works.
There is a light touch here that nonetheless manages to be immersive. The retrospective is selective in its offerings, and though much is necessarily missing, there is no sense of lack, but rather encouragement to seek out more on your own.
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.
Ladders appear across spiritual traditions linking the lower and upper, the earthly and material with the everlasting and transcendent.
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.
The seven artists included in this exhibition offer variations on the idea of digital sculpture, and through that format press against the fraught discourse of the un/real within digital art.
The goal of MoMAs Engineer, Agitator, Constructor: The Artist Reinvented, 19181939 is to showcase the ways that artists participated in spreading radical new ideas made urgent by World War I and the 1917 Russian Revolution. The exhibition largely focuses on activity in what would become the Soviet Bloc, as artists enthusiastically adopted new print and distribution technologies, and embraced a geometric, abstract aesthetic that dramatized their rejection of the decadent, bourgeois parlor.
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.
As expressions of mortal transience, commodity culture, or composition, still lifes make us pause. Across photography, video, mixed reality, and a variety of digital arts, the 15 artists in Still/Live at the Katonah Museum of Art find new methods for modernizing the genre. Curator Emily Handlin brings together a selection of works that exhibit an interest in the history of still life in order to expand its range of meanings and expression for our own time.
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.