The inaugural exhibition at the new Whitney Museum of American Art, which opens to the public today, is predicated on the elusiveness of a cohesive and stable national identity in the United States.
LOS ANGELES — New York has Times Square and Las Vegas has the Strip, but more than any other American metropolis, the City of Angels is a city of signs.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
They say you don’t realize what you were missing until you get it. Well, New York City was missing a building for showing modern and contemporary art.
MINNEAPOLIS — I have to admit, I was a little wary of going to see an art exhibition that I presumed would consist of leftovers from a one-off, amazing, artist-led dinner, a show littered with lengthy documents about a great event I missed.
A few months after having been roundly trounced for The Forever Now: Painting in an Atemporal World, its attempt to assess the current state of painting, the Museum of Modern Art opened a reinstallation of its contemporary collection on the same day as its Björk fiasco.
A deserved tribute to Garry Winogrand is turning into an ethical morass that does no one any good.
The current show at Gagosian, Portraits of America: Diane Arbus/Cady Noland is in a small gallery reachable only by walking into and through the Gagosian’s Upper East Side gift shop. In order to see the exhibition, to enter the gallery, one must first pass through this physical barrier.
LOS ANGELES — Twenty years after performing at the Walker Art Center in Minneapolis, Ron Athey has come a long way from art world pariah to celebrated performance artist.
Holding a sign that reads “I am your worst fear, I am your best fantasy,” a photograph of a proud and defiant woman at a gay liberation march in the 1970s opens Phaidon’s newly published Art & Queer Culture, illustrating the dual visions of queer identity by the field of art history.
By Monday, the reality of the mandated reductions in government spending, otherwise known as sequestration, had begun to sink in. For its part, the New York Times announced, to no one’s surprise, “the split between American workers and the companies that employ them is widening and could worsen in the next few months as federal budget cuts take hold.”
Opening tonight, the New Museum’s NYC 1993: Experimental Jet Set, Trash and No Star purports to offer a time capsule, or, as the museum’s curator Gary Carrion-Murayari put it, a “form of collective memory” documenting a particular time in a particular art scene, namely, New York City in the ’90s.