After family dinners, Louise Bourgeois says of her childhood, everyone “was supposed to bring some kind of entertainment.” Dinner entertainment clearly came with a sense of obligation. It wasn’t, exactly, fun.
The notion of the moderno, or modern, in Latin America is more associated with a mindset than a particular style.
Apparently the price paid for Picasso’s “Women of Algiers” (1955) on Monday is not the most obscene thing about it.
Three years ago, Kansas City–based artist A. Bitterman proposed moving a vacant, dilapidated house, located in one of the city’s poorest neighborhoods, to the lawn of the Nelson-Atkins Museum.
Like her paintings, Alice Neel’s watercolors and drawings, now showing at David Zwirner, wobble and tilt out of proportion, only more so.
As a Brazilian who has lived in the US for the past 10 years, I’ve found Americans’ growing enthusiasm for Brazilian culture and politics both welcome and bothersome.
Volta is unique among Armory Week art fairs in that each gallery booth exhibits a solo project by one artist. The fair is still sizable — 90 galleries in total — but it’s a nice change to devote your time to individual series of works.
The movie Beyond Clueless opens at high school’s gates, signaling our venture into teenage life.
For the past six years, the Danish-Icelandic artist Olafur Eliasson has been working with a color chemist to produce paint pigments that correspond to each nanometer of the visible light spectrum.
“In fact, it’s funny, Latin American art exhibits tend to bother the shit out of me. Partly because it’s my field.”