Amer’s exhibition at Cheim & Read, featuring images of nude female figures made all the more seductive by her choice of materials, is an iron fist in a velvet glove.
Gargoyle faces and witch-like masks adorn the walls of Yoon Ji Seon’s first US solo exhibition, Rag Face, at the Yossi Milo Gallery, New York.
MIAMI — This morning the mother of all Miami art fairs, Art Basel Miami Beach (ABMB), opened its doors for a press and VIP preview. Although it was pretty crowded for a preview day, the fair also felt calm and subdued. And the art matched the tone: much of what was on view seemed safe — tried and true artists whose work might amuse, arouse, or provoke, but not offend.
As I wandered around, though, I remembered that quiet isn’t necessarily a bad thing: it can create a space for humor or contemplation. And scattered throughout the fair I found a good number of artworks that embraced that space by way of domesticity.
The National Academy Museum’s Annual Exhibition, often seen as the Whitney Biennial’s dowdy cousin, still privileges the rich traditions that bigger museums, galleries, and curators often overlook when they focus on younger, sexier media like video, installation, and social sculpture. This year, due to the economic downturn, the 185th NAM Annual includes less art than usual, but has continued to choose outstanding artists deeply engaged in traditional studio practice.