A sizzling keyboard riff slides out of nowhere and bounces around for a few seconds before a metallic snare drum comes in and a woman starts rapping.
We usually describe seeing an object by using the past tense: “I saw.” The emphasis on its foreclosed quality can make us forget how open-ended seeing is. The dynamism of a seen object is every bit as charged as our bodies’ initial physiological responses to it.
Shiny on the outside, hollow on the inside. That is how the work of the American artist, Jeff Koons, has been generally described and received, not only by those who are less than affectionate toward it but also by those who like it.
DETROIT — When a tweet from @CorrieBaldauf breaks into your Twitterstream, it is captivating and disorienting for a number of reasons. More often than not, she is live-tweeting her progress through her latest iteration of the Infinite Jest Project, an exercise in literature, obsession, and social media that Baldauf has been working on since 2013.
LOS ANGELES — In the days leading up to the LA Art Book Fair (LAABF), and during Thursday’s preview, members of the LA arts community criticized the organizers for their use of the Black Lives Matter (BLM) meme.
Century-old brick streets in a historically black neighborhood in Houston, Texas, are under threat of demolition, the culmination of a years-long debate over the preservation of Freedmen’s Town.
Nowhere can you feel the silliness (and yet cloying realness) of the term “outsider art” more distinctly than at the Outsider Art Fair, which, by its very nature, is an insiders’ affair.
LOS ANGELES — There are few events in the art world that allow the “little guys” to shine the way Printed Matter’s art book fairs do, and last night’s opening at the Museum of Contemporary Art’s Geffen Contemporary in LA’s Japantown was a perfect example.
On Wednesday the High Museum in Atlanta announced that it had hired Katherine Jentleson to be its next curator of folk and self-taught art.
This week in art news: Firefighters freed an artist from a plaster block during a botched street art project, a French schoolteacher sues Facebook in a row over Courbet’s most infamous painting, and a Banksy impersonator is on the loose in England.
The expressive quality of collage across all manner of media, from literature and music to the visual arts, came to mind while viewing Rough Cut, an exhibition at Morgan Lehman Gallery.
When Mexico City artist Saner started talking with Jonathan LeVine Gallery about his first solo show with the space, the 43 students in the rural town of Ayotzinapa, Mexico, who would be disappeared by military and police in late September 2014, were still going about their daily lives.