The Museum of Nonhumanity, on view at the Nordic Biennial, looks at the ways language shapes “othering.”
Laurie Simmons’s new feature film, My Art, screening at the Tribeca Film Festival, includes many metafictional nods to the artist’s real life.
Blurred Lines: Inside the Art World, showing at the Tribeca Film Festival, is a successful crash course in the forces shaping the art market that fails to go deeper.
The Norwegian city of Bergen, home to about 265,000 people, is getting a full dose of Lynda Benglis this year.
DALLAS, Tex. — In 2007, Italian artist Paola Pivi brazenly preempted her audience’s response to a work by titling it, “If you like it, thank you. If you don’t like it, I am sorry. Enjoy anyway.”
DALLAS — In a downstairs gallery the Nasher Sculpture Center, Mai-Thu Perret has created an enclave for her newest sculptural figures — a band of female militants, plus one dog.
The Banksy Job looks remarkably like the 2010 mockumentary Exit Through the Gift Shop, but its co-directors maintain that the whole thing is unscripted.
Perhaps most surprising about the new film Burden, directed by Timothy Marrinan and Richard Dewey and screening at the Tribeca Film Festival, is its depiction of artist Chris Burden’s dramatic transformation from a rabble-rousing student in the 1970s to a mild-mannered landowner in 2014.
Robert Rauschenberg worked with dancers?
CINCINNATI — What do you think of when you hear the name “Robert Mapplethorpe?”
Like a closed curtain at the beginning of a performance, a red, wavy material with the name “Elizabeth Taylor” emblazoned in white lettering fills the frame.
At first sight, Mark Bradford’s paintings attract viewers with their bright colors and often grand scale.