Art
As members of the art world head to the home of The Golden Girls to peruse, critique and/or roll their eyes at the displays of one of the most popular art fairs in the world, a noble bunch of New York artists intend to intervene the glorified shopping mall to mitigate the devastation Hurricane Sandy
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BRIGHTON, UK — The difficulties facing post-war German artists can seem insurmountable. And it may not be fair to the likes of Beuys, Kiefer, or Richter to look for an adequate response to the worst atrocities of WWII; we should surely share the guilt around. But a lesser-known artist from Pforzheim
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MIAMI — West Palm Beach is not exactly where you'd think to go to see strong work by a group of talented, emerging photographers. The place, at least for me, conjures visions of retirement communities painted a particularly Floridian shade of pale yellow. But at the Norton Museum of Art this afterno
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Despite our intense familiarity with machines, there's still something a bit foreboding about our increasingly sophisticated mechanical creations. Generally they are not evil natured or programmed to destroy us (like those pink robots after Yoshimi), but sometimes there's a feeling of not being enti
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As the art world expands and significance is given not just to the act of creating art but also the structural art world around it — dealers dealing, curators curating, and directors directing — it's more than possible to have an exhibition that's not really about the art at all.
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Much of the art world may be migrating south to Miami this week, but good stuff is still happening in New York, including some experimental performance and great-sounding lectures.
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Last week, I received an email plea. Someone in the art world was headed down to Miami this week, and she was feeling overwhelmed already. She wanted help figuring out how to manage her attention, and how to actually find some good art hiding in the hundreds of gallery booths she would inevitably wa
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Jackson Pollock and John Cage are legends in American history. In the centennial year of both artists’ births, two exhibitions now on view in New York celebrate their work and underline the fact that even after their deaths, their influence continues to play an important role in how we understand, i
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At the Art Institute of Chicago’s Steve McQueen exhibition, I saw something unusual: museum-goers spending time — minutes of it! — watching moving images. In an otherwise bustling museum, the visitors in these rooms were silent and enthralled.
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Pieter Schoolwerth’s recent exhibition After Troy (November 9–December 22, 2012) builds upon his previous show, tellingly titled Portraits of Paintings, at Miguel Abreu Gallery. Schoolwerth continues to address the question of what can be done after the death of painting by someone who loves to pain
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My first exposure to Eugène Leroy’s (1910–2000) work goes back to 1973: a small group in just as small a storefront in an eighteenth-century Flemish baroque-style building close to the historical center of Lille, a city on the French/Belgian border. I only went to see the show — mostly Flemish regio
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Maybe the Whitney Museum’s exhibition Sinister Pop should be titled Discarding Pop. And by that I mean Pop as a label that implies a common mindset rather than a common set of tools.