Peter Dobey is an artist who travels widely, and is originally from some mountains near San Francisco. He has special interests in the study of aesthetics, dance and psychoanalysis. He has written for Art Practical and can be followed @peterdobey .
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PARIS — In a recent article on AFC, Paddy Johnson argues that Werner Herzog’s piece in this year’s Whitney Biennial is essentially a throwaway. She sees Herzog’s contribution as a quick fix for inclusion that relies mainly on “bells and whistles” rather than substance. But her account is conspicuous
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Monet Clark’s current exhibition at Krowswork Gallery represents the first solo showing of 20 years worth of performance and video work in which her own body and life experiences serve as subject matter. Images of Clark as the ideal “California Girl” are juxtaposed with documentation of the deterior
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During the Biennale, innumerable numbers of events take place outside of the official Biennale grounds of the Giardini and Arsenale, especially from countries that couldn’t afford pavilions inside the Arsenale. They either rented out abandoned spaces near it, like the Iraqi pavilion did, or, if they
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The Arsenale and its Corderie (Rope Walk) compose the remainder of the curatorial effort of the Biennale’s director. It is the sprawling nasty sibling of the Padiglione Centrale, and is somewhat of a chore to tackle. The entire layout of the Arsenale this year feels disjointed. On a whole, I felt li
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Editor's Note: Peter Dobey published a series of photo essays (1 [http://hyperallergic.com/26188/54th-venice-biennale-part-1/], 2 [http://hyperallergic.com/26213/54th-venice-biennale-part-2/], 3 [http://hyperallergic.com/26216/54th-venice-biennale-part-3/]) about this year's Venice Biennale at the b
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More images from the world’s oldest and largest art biennial event, the Venice Biennale, including photos from the American, Egyptian, Iraqi, Israeli and Polish pavilions, view of various social events and other random sightings.
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More images from the world's oldest and largest art biennial event, the Venice Biennale, including photos from the François Pinault Foundation, the French, Haitian, Danish, Swedish, Swiss and the Venezuelan pavilions.
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The voluminousness of the Venice Biennale can be overwhelming, much like the city of Venice itself. Talking with Venetian friends, I heard the city described as a “creature,” a labyrinthine monster that will suffocate you if you don’t know how to find the campos, or other open-air spaces where you c