When Ray Johnson killed himself at the age of 67, the air of mystery surrounding his personality, life, and art only thickened.
A funny thing happened to Munroe’s works on their way to finding physical form.
Self-taught artist George Kornegay created found-object environments for communing with the spirit world.
The book Migropolis: Venice, edited by Wolfgang Scheppe, examines the migrant and tourist crises afflicting Italy’s fabled “water city.”
Three new re-releases showcase Ono’s technical innovations and vocal range, from screams, yelps, wails, grunts, and guttural bursts to ballads, Latin beats, and the blues.
The outsider artist Eugene Von Bruenchenhein and his wife, Marie, created a miniature universe in their bungalow in a Milwaukee suburb.
An exhibition sheds new light on the Chicago recluse’s most provocative images.
Onoda daydreamed about the power of his dots and circles to poke a defiant thumb in the eye of “the world we are now living in.”
“I’m interested in how ideas function in the world, in questions of practice, not just theory,” Nesbit told me. “I’m not interested in theory per se, but rather in thinking.”
Doi has written that “using circles to produce images” provided him with “relief from the sadness and grief” he felt following his brother’s death. Since that time, his circle motif has alluded to such themes as “the transmigration of the soul, the cosmos, the coexistence of living creatures, human cells, human dialog and peace.”
Even for viewers familiar with the diversity of art forms cooked up by the Gutai artists and the attitudes that informed them, much of what is on display in this Yoshida show may come as a surprise.
For Martha Wilson and her collaborators at the Franklin Furnace Archive in New York, the avant-garde spirit is alive and well, and as relevant as ever.