Artist and editor Robert Motherwell proclaimed that of all the painters of his generation, Fritz Bultman was “the one [most] drastically and shockingly underrated.” A survey of his paintings is now on view.
Let’s face it: navigating Armory Week and all its various satellites is a bitch. With so much art to see and endless booths to maneuver, it’s all very daunting. But we love it. Well, at least I love it.
Spontaneity and taxis are the two things I rely on the most. Spontaneity, because one should always open to possibilities, no matter what the schedule might dictate. Taxis, because who in their right mind wants to walk the five long-ass blocks to Pier 92, where the Armory Show’s Modern section was housed, from the subway (with a headwind off the Hudson River that somehow affects travel in both directions)?
Larry Poons might be considered one of the top painters working today, and he knows it. Over his five-decade career he has painted seminal works that have been shown and owned by an illustrious list of prominent private and museum collections all over the world. Critics and historians have written about his work for decades, with pages upon pages chronicling his modes and methods.
For those craving a bit of the ephemeral this holiday season, artist Ann Hamilton has hung 42 swings from the wrought-iron trusses at the Park Avenue Armory as part of a new installation the artist titles “the event of a thread.”
Jackson Pollock and John Cage are legends in American history. In the centennial year of both artists’ births, two exhibitions now on view in New York celebrate their work and underline the fact that even after their deaths, their influence continues to play an important role in how we understand, interpret, and even make art today.
Since it’s founding in 2001, The Bruce High Quality Foundation has been using performance and pranks to critique the art world. The collective prides itself on “developing amateur solutions to professional challenges.” I’ve admired their irony, even envied their sense of anarchy.
With a final series of performances beginning tonight and continuing through New Year’s Eve at the Park Avenue Armory, the Merce Cunningham Dance Company will close, ending nearly sixty years in operation.
During a brief two-week run, Storefront for Art and Architecture was transformed into a laboratory by the creative team of Harrison Atelier (HAt) in their latest iteration of dance-installation titled Pharmacophore: Architectural Placebo. Conceived, dramaturged, directed and designed by the husband and wife team of Seth Harrison and Ariane Lourie Harrison the project explores “the cultural and philosophical economy that surrounds medicine, technology, and the human prospect.” Quite a heady agenda.
MIAMI — With Soutine in mind, and the world’s best galleries around me, I culled a few great works by mostly 1950s US artists that have Soutine in mind.
America has finally woken up to discover that the free life they thought they were living is really governed by a system. A system designed at first glance to be “for the people, by the people.” But in recent years we’ve all realized that this is furthest from the truth. Facets of the system are under scrutiny. So in light of the Occupy Wall Street movement, perhaps it’s time for artists to rewrite the rules of the game.