Digital Avant-Garde: Celebrating 25 Years of Ars ElectronicaBy Ellen Pearlman
Now that the hype of the Internet, with its faded IPOs and stock market roller coaster ride is over, and media conglomerates are gobbling each other up on the broadcast food chain, whom can we look to for inspiration and innovation?
Fred Wilson: Objects and Installations: 19792000By Stephanie Buhmann
Diving into Fred Wilsons excursions around the complex relationships between art collections and their institutional display, one cannot help but question the role and ambition of museums.
Terrorvision: Exit ArtBy Nick Stillman
Returning home to New York City one February night after a party in Westchester County, I was mesmerized by grave ads inside the Metro North trains publicizing the NYPDs Terrorism Hotline.
Xiomara De Oliver: Scarlets in GhentBy James Kalm
The clashes between the factions and subfactions of our aesthetic tribes are as unrelenting as conflict between the Protestants and Catholics in Northern Ireland, or closer to home, the Bloods and Crips on the streets of East New York.
Klaus WeberBy Katie Stone
Sick fox is Berlin-based artist Klaus Weber’s New York debut: an introduction to some of the essential themes and variations in the multifarious artist’s oeuvre, with works in a range of media.
Andreas Gursky: Matthew Marks GalleryBy Farrah Karapetian
"Nha Trang, Vietnam" is Andreas Gursky at his best. Lady workers weave straw baskets and chairs on the floor of a vast factory. Their scattered presence coheres into a color scheme.
Lee Bontecou: Drawings 1958-1999By Tomassio Longhi
Matisse once said "He who wants to dedicate himself to painting should start by cutting out his tongue." It was the reason de Kooning revered Matisse, for not making an "ism," but rather just making paintings.
Two enter and one leaves: YEARBy William Powhida
Drawings its title from a line in Mad Max: Beyond Thunderdome, Two enter and one leaves at YEAR has something in common with the post-apocalyptic Bartertown where Mad Max fights for his life against a mentally challenged giant controlled by a midget.
Bradley Wester: When In RomeBy Ben La Rocco
Bradley Wester exhibits painting, collage, and relief in his current show at Bruno Marina Gallery.
The Free Library: The RivieraBy Sonya Shrier
The hot summer day that I visited The Free Library, Lou Reeds cool voice filled the room, the hip gallery attendant was napping on a beanbag among books, and hanging plants were scattered around the room enjoying the gentle breeze of an industrial fan.
Crossing the BridgeBy Ben La Rocco
The wine is served in goblets at the opening of Crossing the Bridge at Axelle Fine Arts, an international organization founded in 1994 to bring French art to the States. This evening on Smith Street, however, Axelle is showcasing its own young artist-employees.
Jon Kessler: Global Village IdiotBy Tomassio Longhi
After visiting the monumental retrospective of Dieter Roth sprawling from MOMA to P.S.1, an almost overwhelming revelation for me, Jon Kesslers carnivalesque installation of new work at Deitch Projects was a fitting continuation.
Carol Peligian: The Seductive Quality of the ImpossibleBy John Hawke
A shaggy beef jerky floats on a milky pink ground in the foyer painting of The Seductive Quality of the Impossible, Carol Peligians well presented show of paintings and drawings at East, a smart pocket watch of a gallery in Williamsburg.
Willem de Kooning: Gagosian, Mitchell-Innes & Nash, and Richard GrayBy Jim Long
When New York was New Amsterdam in 1626, the Dutch West India Trading Company owned our little village colony that extended from South Ferry as far North as the stockade that later came to be called Wall Street.