When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
PARIS — Where the newness of art comes from (when it comes) is something of a conundrum.
Following our exploration of the artist graves in New York City from the 19th and early 20th centuries, we continue into the 20th and 21st centuries.
Contemplating paintings might not just offer psychological benefits, but also physical ones.
There may be some great-looking specimens of postwar art in Re-View: Onnasch Collection — an exhibition that turns Hauser & Wirth’s cavernous Chelsea outpost into a mini-museum offering the kind of intimate experiences that have been all but lost in New York’s uptown behemoths — but the show also arrives with some huge caveats.
BASEL, Switzerland — Fifty-five years ago, the exhibition The New American Painting arrived at the Kunsthalle Basel. It was the first stop on a yearlong tour that touted the work of seventeen Abstract Expressionists before eight European countries — the first comprehensive exhibition to be sent to Europe showing the advanced tendencies in American painting. All but five of the original artists from the show had work on view at last weekend’s Art Basel, where postwar American painting and sculpture dominated the halls.
CHICAGO — Of all the museums in Chicago, the one that keeps surprising me and making me go back is the Museum of Contemporary Art.
Happy Festivus everyone! What is Festivus? It is a secular holiday celebrated on December 23 as a way to celebrate the holiday season without participating in its pressures and commercialism. It was popularized by Seinfeld.
Mana Contemporary and the Eileen S. Kaminsky Family Foundation have a meticulous show of photorealist artwork, titled Our Own Directions. The exhibition, on view from now until January 2012, features painting, sculpture and photography from the private collection of Louis K. and Susan P. Meisel.