The brain and perception are, in the words of Buster Poindexter, “hot, hot, hot,” with the buzz they are generating in certain reaches of the art world. Curators Koan Jeff Baysa and Caitlin Hardy, both medical doctors, should be commended for surveying this vast subject with their exhibition Seeing Ourselves, though it proffers mixed results.
The Met’s Byzantium and Islam: Age of Transition is a treat for viewers who appreciate the ways that power and continuity are expressed in both luxury items and everyday objects.
Two shows in Chelsea look at conformity, the uniform and the limits of masculinity. Catherine Opie photographs boys in athletic gear while Ian Davis paints herds of men in suits.
If you find yourself at the Museum of Arts and Design this spring, be sure to check out its survey of unsettling quasi-documentary videos by Julika Rudelius, titled What Is on the Outside. The pieces, which were created by Rudelius between 2001 and 2010, range in length from three to 29 minutes, and the complete program will be playing on a continuous loop until July 5.
Speechless is an evolving series that reviews, discusses and/or comments on art works and exhibitions using images, screenshots, videos and other visuals.
Today, join the Art Gallery of Ontario and Hyperallergic at 11 am EST for an hour-long Twitter discussion about public art.
This week, go see performance in Bushwick, help the homeless of Greenpoint, learn about a new wave of feminist art, check out video art from Berlin, listen to Rhizome’s major tech art meeting of the minds and explore the remains of a secret performance … and that’s not all.
CINCINNATI, Ohio —She fades into her own artwork, Dasha Shishkin, standing at the end of a narrow gallery on the second floor of the Contemporary Arts Center (CAC), architect Zaha Hadid’s vertical museum of odd nooks and crannies in Cincinnati, Ohio.
LOS ANGELES — Now that I’ve written so extensively about residencies and their benefits, maybe you’re wondering: which residency to join? As mentioned in my series of articles, the Alliance of Artist Communities is a great resource, with well over a thousand sites here and abroad.
CHICAGO — The eleventh installment of a series with a look at artist studios in Belgrade, New York City, London, Kansas City and Brooklyn.
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 conspicuously reactionary and seems to be more of a response to the glowing reviews of the art writers she quotes than to Herzog’s work itself.
Stanley Whitney is in his mid-sixties. By his own account, he struggled in the studio from the early 70s to the late 80s, “just trying to make work.” The issue was to make something that was his, rather than to make something that was the right or approved of thing to do. Although it is seldom discussed publicly, this is the dilemma facing every African-American artist. You must be a spokesperson who produces testimony that can be regarded as representative of Black culture — the “I” speaking for the “we.” (Even after the death of the author, it seems that there is at least one “we” that must be spoken for in this postmodern world.)