Photography has never gazed so deeply into its own navel as with Thomas Ruff.
Gumby, surfers, penises, Batman and Robin, naked ladies with machine guns, Diamond Dogs-era David Bowie, bats and skulls, Charles Manson, dancers in polka dot dresses: These are a few of the motifs that crop up in Forgetting the Hand, a show of collaborative works by artists Raymond Pettibon and Marcel Dzama at David Zwirner Gallery.
There was a week in high school when my mom begrudgingly let me stay out in New York City for almost three nights in a row.
Wolfgang Tillmans’s oeuvre has the rare ability to move across genres, mediums, and styles while still remaining indisputably singular. His exhibition of 175 recent works at David Zwirner, entitled PCR, is no exception.
Like her paintings, Alice Neel’s watercolors and drawings, now showing at David Zwirner, wobble and tilt out of proportion, only more so.
On Friday Pace Gallery revealed plans to build an eight-story, 60,000-square-foot building where the largest of its spaces on West 25th Street in Chelsea currently sits.
The Art Newspaper published the results of research that found that artists from five of the world’s biggest galleries accounted for nearly a third of solo museum shows in the US between 2007 and 2013.
New York’s art world institutions still haven’t recognized how good an artist Al Taylor was. They overlooked his work while he was alive, and seem hellbent on continuing that willful blindness now that he is dead.
In a dispatch this weekend appearing in Artforum‘s usually stultifying Scene & Herd blog, it was reported that Oscar Murillo had carried out an intriguing intervention at a party hosted by the collector Frances Reynolds.
LONDON — Riley’s paintings establish a sort of bridge between old inquiries and more recent art: no matter how many years have passed since the inception of Modernism, she seems to suggest its bases are still the fundament of artistic endeavor, and always will be.
In one of those useful coincidences of the New York art scene, two current exhibitions discuss global commerce and history, labor and money through one peculiar entry point: sugar.
I know what you’re thinking. There can’t be a ‘how to talk about Oscar Murillo’ because we don’t have a decade or so of commentary, he’s too new to have talking points. He’s 28 for God’s sake, you protest.