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Dawoud Bey speaks with Lyle Rexer about his life, influences, and deep thinking around portraiture and landscape photography.
Alzamoras sculpture, concept meets craft at a very high level, a union as rare as the teeth of the proverbial hen. With the general de-skilling of art and the rise of conceptual strategies, which have gone hand-in-hand since the early 1960s, it has been too little noted that what amounts to an old-fashioned, Henry-Fordish division of labor has taken over in the art world.
In The Americans, Robert Frank may have appeared as a revolutionary photographer, but beyond The Americans, the real revolution in photography was taking place elsewhere.
From a distance of decades, its easier to see Judds veiled polemic for what it was: opinion masquerading as analysis and intuition supported primarily by his own practice. At the same distance, through two major exhibitions, its possible to see and feel intensely what Judd accomplished.
Is there such a thing as outsider photography? The term outsider has come to mean either self-taught, outside the art establishment or, in the more extreme version, cut off from many forms of social intercourse by mental illness or incarceration.
A Vermont native, Aiken mastered a luminous color palette, often composed from colored pencils, that could evoke the seasonal landscape with vivid freshness.
There is a story about how Bonnard, as he grew older, became increasingly obsessed with the juxtaposition of color, to such a degree that when he was working with a pigment, he would walk among his canvases and see where the color might be applied in anything he was doing, to get just the effects he was after.
Fritz Vogt, an itinerant renderer who worked in five counties west of Albany, left behind hundreds of drawings in graphite and colored pencil that give a glimpse of a world that no longer exists, when towns were growing and farming was prosperous.
Several years ago in conversation, Sally Mann said that once she adopted the wet collodion process for taking photographs, she became aware of making graven images. This exhibition is her most vivid demonstration of the truth of that idea.
In their first solo gallery exhibition in the United States, English artists John Wood and Paul Harrison arrive just in time and too late.
This revolution is the insertion into the archive of a very large group of women photographers, many of whom have been virtually unknown to contemporary viewers.
Luis Camnitzers work has always confounded me with the way it speaks so critically while assimilating seamlessly into architectural space, including the quasi-sacred but increasingly consumer-friendly temple of the museum and the white cube gallery.
It was upsetting and exhilarating in equal measure to see a selection of those paintings extracted from the detritus of Kelleys sprawling artistic career and made to stand for something important in the cold confines of Hauser & Wirth. Separated from the stuffed animals, videos, sculptures, and architectural models that crowded MoMA PS1 a few years ago, Kelleys paintings become an uncomfortable retrospective, inevitably shadowed by the artists suicide in 2012.
Although the exhibition at Ricco/Maresca contains mostly smaller works on paperdrawings and gouachesit may be the most revealing presentation about the motives of this prolific artist. It is illuminating as well, not only about Grimes but also about the strategies of a range of artists on the visionary spectrum, from Alfred Jensen and his obsession with Mexican pyramids to Johannes Itten, who founded the Bauhaus design program, to Emery Blagdon, the outsider who created a barn full of healing machines.
For more than 40 years, Jim Shaw has been a guide to the American optical unconscious, exploiting and exploring the popular forms of representation that have shaped many Americans perception of everything from nuclear war and organized religion to sex and domesticityand, it almost goes without saying, beauty.