Kruger never seemed to mind that the very world she critiqued co-opted her style and spit it back into advertising.
The Hammer Museum has displayed the three video installations together for the first time.
Kruger’s installation at LES Coleman Skatepark can seem mesmerizing, but from the perspective of the skaters — the unwitting participants of this project — it isn’t very functional.
The artist created two designs emblazoned with her trademark white-on-red text, posing difficult questions to New York’s straphangers.
Recent books by Tim Lawrence and Douglas Crimp underline the close relationship between the New York art scene of the 1970s and ’80s and that most unjustly maligned of musical movements, disco.
Has Kruger become a one-trick pony? Is her
graphic design art divine? We thought we’d ask.
Hillary Clinton appears to be artists’ favorite in the 2016 US presidential election, while her opponent Donald Trump has not been endorsed by a single well-known artist.
LOS ANGELES — The current show at Sprüth Magers gallery, Eau de Cologne, has a title that might seem like a play on words (that’s what I initially thought), but it is actually quite straightforwardly unironic.
MIAMI — The exhibition of over 100 women artists currently on view at the Rubell Family Collection is difficult to review because the works do not all fit into the space and the decision was made to rotate them over the course of the show.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Thematic exhibitions present a unique dilemma; if a curator follows a theme too rigidly, the exhibition can become stifling. If applied too loosely, the curator essentially undermines their own role.