PARIS — Maybe someday a meteor will hit our fair planet, the solar system will enter an electromagnetic field, or the art market for Andy Warhols will collapse and trigger a domino line of economic downfall. However it goes, the world as we know it will someday end, and for Hiroshi Sugimoto there is nothing right now that is more inspiring.
A turn-of-the-century period piece, largely without a plot, that takes place almost entirely in a single room — and directed by a man who’s almost as old as the medium within which he works, cinema itself? Of course. Why not?
This past weekend, the 2014 Whitney Biennial drew to a close. To date Hyperallergic has published 16 pieces about the show — and we’re not even finished yet.
An upcoming Marina Abramović show about “nothing” at London’s Serpentine Gallery has found several prominent art historians and critics at odds with the artist and Serpentine curator Hans-Ulrich Obrist.
The 38-member collective of artists that withdrew from the Whitney Biennial two weeks ago, known as the Yams Collective or HOWDOYOUSAYYAMINAFRICAN?, is screening its pulled contribution along with other material in an alternative Brooklyn space tonight and tomorrow.
A history of vandalism in one of the world’s most famous monuments has been analyzed, revealing long-lost art. In a paper published this week in the quarterly review Antiquity, researchers used imaging technology to uncover the hidden paintings of Angkor Wat.
A show like the one currently up at Mitchell-Innes & Nash, which homes in on Jay DeFeo’s post-“Rose” output until her death in 1989, is still direly important.
I’m a painter who hates painting. (I mean I used to.)
Artist studios in Pennsylvania, Florida, Illinois, and the Netherlands.