“Where’s my head?” sing Chris Keating and Anand Wilder of psych-pop band Yeasayer in “Silly Me,” a track off their new album Amen & Goodbye.
PARIS — Young New York-based Canadian artist David Altmejd’s remarkably ambitious retrospective exhibition of sculpture at the Musée d’Art moderne de la Ville de Paris played pithily with many current intellectual strands.
MIAMI — There are many stories about the origins of art: ancient Greek historian Pliny suggested art was born when a Corinthian maiden traced the outline of her lover’s shadow on a wall, while an Asian legend tells of a young man who could not paint the Buddha because of his enlightened glow, and so was forced to paint his reflection in a pool of water. What these two stories share is the emphasis on the rendering of people as a foundational element of art. Fast-forward many millenia, when the story of high-priced contemporary art is vastly different from those origin stories, and walking through the latest incarnation of Art Basel Miami Beach, I was struck by the marginalization of the human form in the blue-chip work on display. What happened?
Day trips beyond New York City for visual art can feel decadent, especially with all the spectacular shows we don’t have time to see. And although it might be a small hassle to get there, the Brant Foundation’s current solo show of David Altmejd is really worth every minute of the trip to Greenwich, Connecticut. With his hallucinogenic and kaleidoscopic aesthetic, Altmejd also seems to be asking viewers to take a trip.
Daniel Larkin goes looking for pterodactyls in some recent art exhibitions. He writes: “Some artists have discovered that this flying reptile have some real cross-over potential. At first, this sounds like an awfully kitschy idea, but when this airborne creature is refracted, distilled, and boiled down into a raw winged shape, it really sings rather than squawks.”