In an interview earlier this year with The European Magazine, Errol Morris was asked to use one word to describe his work. His answer: “perverse.”
We all know that Halloween is a time to be festive and creative, but did you know it’s also a great time to be critical? In your costume, that is, at the Storefront for Art and Architecture’s Critical Halloween.
Don’t be intimidated by Blackwater Polytechnic’s ominous name. The British artist collective and alternative art school has a very benevolent goal: To nurture and promote the work of artists and artisans based in Essex. To that end, the group will be showcasing members’ works at Brooklyn’s Theodore Art, along with Seattle’s Season gallery, as part of this week’s Exchange Rates expo in Bushwick.
Harlem, like the rest of New York, is changing. The exhibition Sense of Place at Tatiana Pagés Gallery — part of the Hyperplace Harlem arts festival, which ran October 4 to 6 — rightly explores place more as a conundrum than a settled concept.
Writer and editor James Trainor’s recent essay in Artsy about the Hudson Valley art scene — obnoxiously titled “The Hinterlands: Can artists and dealers change the creative and economic landscape of Upstate New York?” — reads like a call to artist-saviors to move up the Hudson in order to colonize the virgin, green Hinterlands in the name of high culture.
Tails, feathers, claws, paws, and slender toes peak out from blurred scans of natural history specimens included in Ann Hamilton’s new exhibition at the Henry Art Gallery in Seattle.
The US Army has received a $600,000 budget allocation for the purchase of works by Samuel Johnson Woolf, Defense News reported.
Two art students in their final year at the John Curtin College of the Arts in Perth, Western Australia, got an unexpected lesson in institutional politics after their paintings were censored in a student exhibition.
What, I ask you, should one expect if one asks artist Paul McCarthy to create a Christmas tree for the place of honor at a renowned, must-attend art fair? Well, it’s Paul McCarthy, so there are only two possible outcomes: a turd or a butt plug.
Nine o’clock: the stage lights dim and a spotlight illuminates a stuffed “hero” sandwich the size of a small sofa. The opening melody of Tina Turner’s “We Don’t Need Another Hero” — hit theme song from Mad Max: Beyond Thunderdome — fills BAM’s Fishman Space.
PARIS — The essence of branding is the insistent repetition of a recognizable commodity image, so we should not be surprised when Bernard Arnault’s global luxury brand Louis Vuitton applies the same formula to art.
Two words in the English language describe what it means to be alone. “Solitude” results from a willful act of self-reliance, while “loneliness” stems from being involuntarily deprived of company. For most artists, though, the boundaries between these states of being are less sharply defined.