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Our understanding of the art of the near and distant past is now bound up with the ways we deploy and respond to an array of replicas and re-enactment.
With solo exhibitions in Brooklyn and Amsterdam and the publication of an artists book, the photographer Steel Stillman is going public with a deceptively quiet and often disquieting body of work that has absorbed him for many years.
The Venice Biennale of 1990 was the first of manyevery Biennale since, to be precisethat I’ve written about, and I was prompted to look back after returning from the 2015 edition.
Peripatetic and prolific, Simon Starling (b. 1967) has traveled to and across five continents since the early 1990s to research, fabricate, photograph, film, perform, and install his work.
Resourceful and prolific, Xaveria Simmons makes art that ranges across mediaphotography, performance, painting, video, sound, sculpture, textas if there had never been any boundaries between them in the first place.
There are two statues of Peter Stuyvesant—one in Jersey City and one in Manhattan’s Stuyvesant Square—among the seven monuments photographed by Hew Locke for his 2018 “Patriots” series.
Katchadourians art arises from an assertive subjectivity and an inquisitiveness, laced with cheerful skepticism, about the multiple and contingent ways the world might be understood. Extensive research, improvisation guided by self-imposed rules, and an abiding sense of humor figure in the mix.
From the start, Denes has wielded mathematics, philosophy, and unflinching logic as the instruments of an intellectually formidable practice that is driven by a passionalmost a hungerfor discovery.
The six new paintings in Allison Miller’s compact exhibition at Susan Inglett make a convincing case for a capacious abstraction that is exacting yet playful, rich in smart art references yet firmly colloquial.
In the course of fifty years of exhibiting his art, David Rabinowitch has come to be known for his rigorous empiricism, flinty intelligence, and serial investigations into the organizing operations of perception.
A black-and-white photograph that accompanied Carrie Rickeys feloniously uncomprehending review in Artforum at the time documents the work: hundreds of seemingly printed sheets of paper, aligned corner to corner and edge to edge, arrayed in three tiers that wrapped around three walls.