BOONE, NORTH CAROLINA — The Rembrandt in America show at the North Carolina Museum of Art is the largest Rembrandt show ever staged in America, containing 47 works.
Monica Cook’s Volley features a full cast of blemished bedazzled half-human, half-monkey sculptures. When I asked one viewer what he thought his response was, “It’s pretty dark, I mean, this ain’t no Winnie the Pooh you know …”
LOS ANGELES — Drawing inspiration from Robin Rimbaud and the lovely Mission Control site by soma.fm, artist Eric Eberhardt decided to turn police chatter and online radio into a media landscape.
James Fotopulous’s charcoal drawings develop during the process of his filmmaking. They are currently on view at Microscope Gallery.
Like the Jack Kerouac’s three line poems, Lois Dodd is able to capture the essence of her subjects through simplicity and directness of expression.
Time flies when you’re looking at art. This week’s prescription features a few shows that are closing (already!), including Jeff Wall and Maurizio Cattelan.
Joann Kim Núñez of Updownacross is partnering with Skillshare to build a Creative Arts program that will offer classes for the city’s aspiring and emerging creatives.
Queer arts have been gaining momentum and paying healthy homage to history as they take root in Brooklyn. On the heels of an eventful December with World AIDS Day events throughout the city, Illegitimate And Herstorical opened at A.I.R. Gallery on January 5. Curated by Emily Roysdon (a collaborator with MEN and a founder of “feminist genderqueer” artist collective LTTR), Illegitimate And Herstorical is one of the strongest group shows culled from open-call submissions that I’ve seen of late.
LOS ANGELES — After spending a year living in different parts of Asia, I’ve been asked by many people for my thoughts on the art scene there so here are four names worth knowing.
Artist Leon Reid IV has a way with images. When he’s not remixing the urban environment, he’s playing with the context of art institutions that commission his work, which he always injects with a political or social message. His latest print series, Recent History, is a little of both.
There is something about artistic clutter that I love. The crumpled remains of discarded experiments, the crusts of paint dripped on floors and furniture, the outlines of finished pieces long since removed, frames of overlapped color left like burned shadows after a nuclear bomb. These remnants have a calm, yet chaotic, beauty, similar to debris after a storm, that draws me to visit artist studios and empty art classrooms. When looking at David Gilbert’s art, now on view in his solo show Angels at Klaus von Nichtssagend Gallery on the Lower East Side, I see this ephemeral aesthetic appreciated in his quiet photographs.
I have long suspected that all the press attention garnered by the Cariou v Prince story, with its heady mix of celebrity, power and money has caused the importance of this case to become magnified in the eyes of courtroom outsiders.