Posted inOpinion

Required Reading

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.

Posted inPerformance

Ashes to Ashes, Words to Dance

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?

Posted inArt

The End of Performance Art as We Know It

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.

Posted inOpinion

The Whitney’s Koons Retrospective Talks Money

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.

Posted inSponsored

Unnamed Broadway Musical: The Musical!

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.