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Take Me (I’m Yours) presents the work of over forty artists, all of whom challenge the time-honored relationship of distance and deference established between art-object and viewer.
Sounds of life fade away as you, along with four museumgoers and one museum guard, pass through three successive off-white chambers separating the Guggenheim’s rotunda from Doug Wheeler’s PSAD Synthetic Desert in the topmost tower gallery.
An homage, a funerary march, a quiet celebration: Louise Lawlers final exhibition at Metro Pictures, which will permanently shutter its doors in the coming months, resounds with a distinct nostalgia.
Sounds of life fade away as you, along with four museumgoers and one museum guard, pass through three successive off-white chambers separating the Guggenheim’s rotunda from Doug Wheeler’s PSAD Synthetic Desert III in the topmost tower gallery.
By choosing the rather doomed crickets as her subject, Hollanders Flatwing highlights the enormity of an impact that can be brought about by even the smallest of changes, thus emphasizing the precarity of our present environmental situation and the intensely choreographed nature of the world around us.
By magnifying the stylistic, architectural, and compositional inconsistencies present within the original comic frames, Kelley highlights the vagaries and mythologies of memory—the tendency to forget and invent a (new) past.
Twisted is the 80-year-old artists first ever solo museum exhibition in New York Citydespite a career marked by invisibility (whether purposeful or socially enforced), Hershman Leeson has only gained visibility with time.
Legibility varies greatly in the work of over thirty international artists exhibited in Stories of Almost Everyone at the Hammer Museum in Los Angeles.