This week, painters painting themselves as lions, Google’s modern day Library of Alexandria, the new Museum of Failure, the CIA and Arab modern art, Chinatowns today, and more.
“Who can protest and does not, is an accomplice in the act.”
Sekula was part of a number of different overlapping scenes, and she was loved and thought highly of by many. And then nearly everything about her and her work got forgotten.
Trosch has not had a solo show in New York since 2009, which is more than a generation and nearly a lifetime in art-world years.
The desire to make corny, mindless drawings had its partial impetus in a need to get away from the cerebrally crushing news cycle that day, because it was a day in 2017, and nearly every day of the news cycle has been like that this year.
Acheson does not care about trading niceties or being ingratiating. He would rather propose and debate philosophical ideas.
2017 is shaping up to be a terrific year for hip-hop — better than 2016, I hope.
Wurm’s latest series of one minute sculptures, incorporating mid-century modern furniture and presented alongside five new cast bronze sculptures at Lehmann Maupin, evidences that, even as he plays with variations on familiar themes, his work remains relevant and fresh.
“Wounded Man (Autumn 1916, Bapaume),” from Dix’s portfolio of 50 etchings, The War (Der Krieg), shows a brutal reality that lays waste to George W. Bush’s anesthetized vision of war wounds.
A Mushroom Perspective on Sacred Geography explores the visual history of the lingzhi mushroom in art from China, Japan, and Korea.
The 1660 Klencke Atlas is taller than most people, and now its rare maps are easily accessible online.
The article, published earlier this week, includes images of unfinished works that will be featured in his solo show at the Venice Biennale.