Van Goghs The Potatoes Eaters displays the physiognomies of things. In Immendorffs picture of Mahlzeit beings are an urgent matter: What needs to be put on the tabletop? The table their altar,
Remain in silence we must! / In 2 minutes 56 seconds, / We will see the world change from eastward / By our brothers, our sisters, who were told individuality / Is necessary when it liberates human freedom from / TYRANNY AND DESPOTISM.
Munro Galloways recent exhibition at Soloway, entitled Belief System, begins with a Surrealist prompt and ends with pure pigment, rich and untethered.
In 1970, there was a pop hit that promised, Im your vehicle baby, Ill take you anywhere you want to go. These lyrics perfectly epitomize the transcendental nature of Americas relationship to the automobile, from the time the first Model T rolled off of Fords assembly line to today, when reissues of G.M. muscle cars like Camaros and Chargers conspicuously consume ever more costly fossil fuels.
What often gives the art of an old master emotional depth is the attachment of surprising symbolic meanings to seemingly banal artifacts.
Adam Helms has spent much of his career exploring the performativity of violence. Using Internet-sourced depictions of militants and rebel soldiers, Helms often works in charcoal and ink to create, compile, degrade, or archive images in ways that have drawn reference to Aby Warburg and Gerhard Richter.
A few hours before April Fools Day, Richard Prince was kicked off Instagram for posting an installation shot of Spiritual America, his infamous re-photograph of a then-10-year-old nude Brooke Shields.
Our postmodern sensibilities notwithstanding, there remains in this culture a deep and pervasive undercurrent of Platonic idealism, of belief in the possibility of purity, perfection, and permanence in a world that so emphatically suggests otherwise.
Stephen Shore’s extraordinary eye for exquisite moments in banal situations is once again on display, this time focusing on Israel, the West Bank, and villages of Holocaust survivors in Ukraine.
Andrea Büttners current solo exhibition, her third at the gallery, brings together works featured earlier this year at the National Museum of Wales in Cardiff and Museum Ludwig in Cologne.
How many crosses cross the stretcher bar / In order to ignore the inner frame with endearment? / Some were struck by how the image falls / So swiftly from two thin layers of Ivory black / Just enough to DECLARE he has finally left
Paintingboth the process and its productscan be absurd, irreverent, and funny, as the 20-plus “portraits” by Jason Fox presented at CANADA suggest.
No smoke, no mirrors, just you and the canvas. Contemporary abstract painting, the sexiest of which is being called Casualism, considers imperfection a lynchpin.
Time has vindicated the art worlds longworn prejudice against clay as craft. These days, one sees it everywherethroughout Chelsea, the LES, and Brooklyn galleries; center stage at the profusion of art fairs and biennials; as the subject of major retrospectives and museum exhibitions; and especially entrenched within the studio practices of emerging and mid-career artists.
She Depicting Her: A Womans Perspective
By Christopher Green
Eleanor Adam, Janet A. Cook, Liz Adams-Jones, Leah Lopez, and Orly Shiv
A so-called branded feminism is appearing in the art and commercial worlds at large, a slick gloss that co-opts feminist rhetoric to largely patriarchal and neoliberal capitalist ends.
I recently visited with Wayne Thiebaud as he prepared to travel to New York for his current exhibition at Aquavella Galleries; our conversation turned to public projects, and he asked if I knew of his 1957 mural on the headquarters of the Sacramento Municipal Utilities District (SMUD) building.
In an epistle from his Cézanne Letters, poet Ranier Maria Rilke, caught between rapture and melancholy, marveled over the chance discovery of page-pressed sprigs of heather redolent of the scent of autumn earth Containing depth the grave almost
Collaborators Will Corwin (a contributor to the Brooklyn Rail) and Neil Greenberg have put together an interactive project called The Great Richmond. Installed in the lounge of Staten Island Arts at the Staten Island ferry termi, the installation re-envisions Staten Island through sculptures by Corwin and schematic maps by Greenberg.
Jean-Luc Moulènes Torture Concrete, his first solo exhibition at Miguel Abreu Gallery and in New York, gathers together a group of enigmatic sculptures, drawings, and photographs.