Museums

Installation view, 'Amy Sillman: one lump or two'

Considering that I had always thought of Amy Sillman as an abstract painter, I was surprised to encounter, after seeing her mid-career retrospective at the Hessel Museum of Bard College, an oeuvre that was entirely about the body, touch, and the awkwardness of human interaction.

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'Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937' at Neue Galerie

It’s not often that a museum gets to directly respond to front-page, bolded-headline media coverage with an exhibition that both nourishes the public’s curiosity about the reported phenomenon and expands the perception of it as well. Deliberately or otherwise, Neue Galerie couldn’t have timed it better.

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Post image for Artifacts of a Patriarchy that Was and Wasn’t

LOS ANGELES — The Paternal Suit: Heirlooms from the F. Scott Hess Family Foundation, on view at the Long Beach Museum of Art, is an exhibition that examines the imperfect influence of patriarchs and fathers on American history and American families.

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Installation view from 'Living with Pop. A Reproduction of Capitalist Realism,' Artists Space, 2014.

From Baudelaire’s 1859 dismissal of photography on down, the image-culture of the petit bourgeois “mob” has long served as a provocation to artistic thought, a relationship that reached its most literal apogee in the West with the Pop Art of the 20th century.

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Post image for Between Figuration and Abstraction with Amy Sillman

ANNANDALE-ON-HUDSON, New York — Walking into the Hessel Art Museum at Bard College, an unremarkable contemporary building on a quiet Hudson Valley college campus in Upstate New York, I was unprepared for the dynamite lurking within.

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Post image for The Overlooked Elegance of Japanese Pattern Books

The major difference between this and other exhibitions of Japanese moku hanga (woodblock printing) is that the prints were all made as pattern and design books for the Japanese textile market.

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Museums

Broadcasting Los Angeles

by Abe Ahn on July 28, 2014

KCHUNG TV stage at Made in L.A. 2014

LOS ANGELES — One of the first objects on display at the Hammer Museum’s Made in L.A. biennial is a Volkswagen Brasilia, named after the Brazilian capital.

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Varhram Aghasyan, “Museum of the Revolution”

TBILISI, Georgia — This week in Tbilisi, there are two exhibitions worth checking out. They make a nice pairing for an afternoon, as the first deals with public memory while the second is a very intimate examination of hidden experience. Both are singular in that they reflect life in the Caucasus region yet have universal relevance.

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Museums

Minor White’s Vulnerability

by Alicia Eler on July 25, 2014

Minor White, “Untitled (composite print)” (1973)

LOS ANGELES — Minor White’s photographs offer a portrait of a life lived in collaboration with the natural world, other people, and the great beyond. This collection of crisp photographs make up the retrospective Manifestations of the Spirit.

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Museums

Malevich in his Milieu

by Eva Bezverkhny on July 24, 2014

Kazimir Malevich,

LONDON — The Tate Modern’s Malevich: Revolutionary of Russian Art exhibition explores the career of Kazimir Malevich, presenting a complete image of the painter, sculptor, teacher, and revolutionary member of the early Soviet avant-garde, whose trajectory as an innovative artist mirrored the tumultuous decades surrounding the Soviet revolution.

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