Animal New York has been documenting the steady stream of defacement that artist Shepard Fairey’s May Day exhibition mural on Houston Avenue has been subject to. First it was targeted by a graffiti writer, then holes, and now a clever “Target” logo. It’s worth noting that the target form that is being ridiculed refers to artist Jasper Johns’ famous target image from the 1960s but the form has undoubtedly been transformed in the public imagination by the Target department store chain, which nowadays is more commonly associated with the imagery.
Detested by many in the graffiti and street art community as a sell-out, Fairey is certainly going to be a lightning rod for another age-old rivalry, namely the one between graffiti writers and street artists (both types of artists that work in public spaces but often don’t get along).
I have to admit I’m looking forward to what’s next.
The Project of Independence at MoMA probes the limits of modernist construction in South Asia.
The newly opened Cheech Marin Center for Chicano Art & Culture — also known as “The Cheech” — celebrates, spotlights, and complicates representations of Chicano art.
Convened by Erika Sprey, Lamin Fofana, Sky Hopinka, Emmy Catedral, and Manuela Moscoso, the public program unfolds this summer at CARA in New York City.
The Detroit-based artist draws from her Russian, Ukrainian, Jewish, and African American roots to create a dazzling new ornamental language.
Stuffed with references to historical and contemporary film, Olivier Assayas’s miniseries version of his own 1996 film Irma Vep is sometimes too clever for its own good.
The Bay Area art book fair is back this July with free programming at three different on-site venues, new exhibitors, and fundraising editions from renowned artists.
The authenticity of the works, whose owners say Basquiat sold to Hollywood screenwriter Thaddeus Mumford in 1982, has been heavily scrutinized.
The Utah site has been subject to longstanding contention over federal lands management.
Shows at the Hudson Valley’s Hessel Museum of Art feature artists Dara Birnbaum and Martine Syms, as well as new scholarship on Black melancholia as an artistic and critical practice.
At a time when many Black artists turned to figuration, Gilliam harnessed the power of abstraction, freeing the canvas from its support.
The artist’s portrait of her mother, painted in 1977 and reproduced on the vaporetti of Venice, may be one of the most evocative artworks in the Biennale.
A new box set of four of the Iranian director’s features offers a great opportunity to get to know his singular style.