This week, face recognition software may help art historians solve mysteries, Picasso’s lover gets a Gagosian show, the New Aesthetic debate continues, the French elections and art, street art in Houston, Kiki Smith interviews Jenny Holzer and more.
Siglio Press’s anthology of text-based art, It is Almost That, is a rare gem: a book of pivotal works that have received little critical attention. Because of its attention to the obscure, It is Almost That is essential for anyone interested in feminist art, performance studies, cross-genre writing or the graphic novel.
Chuck Webster is in his early 40s. He has been showing regularly in New York for nearly a decade. This is his sixth show at ZieherSmith since 2003.
The program for Rashaun Mitchell’s Nox contains a lone explanatory note: “When my brother died I made an epitaph for him in the form of a book. This is a replica of it, as close as we could get.” The words belong to the poet Anne Carson, and they come from the back cover of her eponymous book, published in 2010. They make you wonder: Is what we’re about to see a replica of that book, in the form of a dance, as close as the artists could get? A replica of a replica?
So I clicked on Jillian Steinhauer’s post — “Is Marina Abramović Trying to Create a Performance Art Utopia?” — and the first thing that popped into my head was, “Why does it look like a suburban public library, circa 1962?” What I’m talking about is the architectural rendering from none other than OMA’s leading lights, Shohei Shigematsu and Rem Koolhaas, gracing the head of Steinhauer’s article, which was published by Hyperallergic on Monday.
Painter, author and critic Mira Schor’s current show at Marvelli Gallery delves into the world of language. The show is titled Voice and Speech, but there’s an erie silence to these works.
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If only you knew how to talk about Cindy Sherman you’d feel better about throwing yourself into the ring with all the art pundits and critics who have been falling over themselves to give kudos to the current MoMA retrospective which covers her 35 year career from when she was good until now.
Talk about art going big: the New York Times reported last night that the Whitney will mount an enormous Jeff Koons retrospective as its last hurrah in the Breuer building, before moving downtown in 2015. Probably out of necessity as much as for flair, the exhibition will take over the entire museum except for the fifth-floor permanent galleries — the first time the Whitney has given over that much space to one artist.
Upstairs from “Larry,” in the Carlyle Galleries Building at 980 Madison Avenue, Adam Lindemann’s latest art toy, Venus over Manhattan, was unveiled to the press Wednesday morning.
The Elizabeth Foundation for the Arts (EFA) Project Space presents Unnamed Broadway Music: The Musical! is a project inspired by a certain famous orphan-themed Broadway musical (that organizers have been advised not to name due to copyright issues). Video artist Kara Hearn is mounting a bare-bones, experimental production, for which the casting was based more on the willingness and need of the performers than on singing, dancing ability or appearance.
The Hartford Courant reports that one of the world’s great unsolved art thefts may have a new lead.