In her new book, The Love of Painting: Genealogy of a Success Medium, critic Isabelle Graw ruminates on how painting remains omnipresent within the contemporary capitalist system and digital economy.
The emblem of the 2016 Biennale de Montréal is a Lucas Cranach the Elder portrait of an alleged witch and its title comes from a Jean Genet play about an upscale brothel.
LOS ANGELES — The first time I’d ever walked into an art museum I was confronted by a sculpture, free standing, that both seemed like a representation of a human body, a penis, and a catamaran — all at the sam
Isa Genzken is not a Dadaist.
Childhood is the kingdom of magic. In this world, the child invents new secret languages, speaks with people and creatures visible only to her eyes. She is happy.
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.
The reason we feel great pleasure when gazing at Genzken’s sculptures is because they, or rather she, gives us the experience of seeing the world as if for the time. She returns us to our infant selves.
Many people love art for its power to transport, whether through a painting that brings us to the banks of the Seine in 19th-century France or an installation that immerses us in a fanciful and imagined alternate world. But what about when art refuses to carry us away, offering instead only blank space, an empty frame staring back at us?
This week, Will Ryman’s “The Roses” installation along Park Avenue are saying bye bye. But when I spotted them yesterday all dug up with their “roots” exposed, I thought it somehow completed the work.
As soon as we heard that Isa Genzken’s “Rose” will replace Ugo Rondinone’s “Hell,Yes” (2001) on the exterior of the New Museum … we immediately thought Photoshop!
Our little digital collage experiments suggest that fiction is often more exciting that fact.
A friend suggested that the New Museum amass them all, and I would assume it would eventually look like a child’s bedroom floor strewn with colorful toys.
A little birdie told us at Hyperallergic HQ that Ugo Rondinone’s “Hell,Yes” (2001) will be removed from its perch on the facade of the New Museum. The same little birdie told us that it is slated to be replaced by Isa Genzken’s 30 foot (8 meter) tall “Rose” sculpture.
What do we think of the newest addition to the Bowery? We’ll let you know after it’s installed in early November.
As the reality of Deitch’s appointment to MOCA sinks in, let’s take a step back and look at his role as a street art advocate. Was he the prophet for the scene or just one of many fans? And where could this all lead?