The earliest painting on view in Wolf Kahn: Six Decades is a large landscape-derived abstraction from 1960 titled “Into a Clearing.” It features a loose, pulsing welter of brushstrokes that coalesce into lush zones of breathing, blooming color.
Hillel “Helly” Nahmad, scion of the Nahmad art dealing family, was sentenced today to one year and one day in prison over the gambling charges to which he pled guilty last November.
I’m not sure why plays without actors have become a trend in theater, but between Gabriel Lester’s “Super Sargasso Sea (phantom play #1)” at Abrons Arts Center last November during Performa 13 and this week’s production of Rabih Mroué and Lina Saneh’s “33 rpm and a few seconds” at Asia Society, the notion of a humanless theater isn’t odd anymore.
Applications for the New York Studio School’s Summer Session are due May 20.
Archaeologists have discovered that a previously unexplored tomb in the Valley of Kings is actually a royal necropolis containing the mummified remains of at least 50 people.
Ai Weiwei’s art star celebrity status sometimes eclipses the political realities of his life, but the Chinese government is always quick with a reminder. The latest controversy: local cultural officials in Shanghai have scrubbed and censored Ai’s name and work from an exhibition about the history of contemporary Chinese art, the New York Times reported.
SAN FRANCISCO — “ … Instead of feelings or human adventures,” wrote Francis Ponge, the French Surrealist “poet of things” in 1942, “I choose as subjects the most emotionless objects available.”
A new video series at the New York Times seeks to remedy the suspension of disbelief often required when dealing with the absurd in “court trials, depositions, or government hearings.”
Fifty sites in Los Angeles are now blooming with beautiful wildflowers as part of an artist-led initiative to bring back native flora to the city’s open spaces.
MONTREAL — Entry was free but the carpet still red, a rain-sodden lilt up entrance stairs. And under drab skies the people came. Here, tonguing the periphery of Montreal’s infamous red light district, was Papier14, the works-on-paper fair’s seventh annual iteration.
This Monday the American Museum of Natural History launched a new digital platform with thousands of images from their archives. It kicked off the initiative with an event featuring two artists who have been profoundly influenced by its collections.
There’s been so much hemming and hawing about “social practice” art in the past few years, it’s a little painful to even say, or type, the phrase. So, it felt a little odd to be picking up a fairly lengthy book on the topic, What We Made: Conversations on Art and Social Cooperation. But the number one reason I was intrigued by this volume is the person who put it together: Tom Finkelpearl.