LOS ANGELES — The current show at Sprüth Magers gallery, Eau de Cologne, has a title that might seem like a play on words (that’s what I initially thought), but it is actually quite straightforwardly unironic.
WESTON-SUPER-MARE, UK — Someone really should have sent a disgruntled teenager to review Dismaland, the latest Banksy extravaganza: part amusement park, part art exhibition tucked away in an abandoned former resort complex at the British seaside town of Weston-super-Mare.
There’s a bit of curatorial sleight-of-hand in I Dropped the Lemon Tart, the summer show at Lisa Cooley on the Lower East Side. The title refers to a real-life mishap in a restaurant kitchen where imminent culinary fiasco turned into a triumph of pluck and invention.
When Dallas Cowboys fans turned up to their team’s new stadium for the 2009–10 pre-season, they were greeted with a collection of Texas-size, blue-chip contemporary art.
Frieze New York opens its doors to the public today, but already during yesterday’s press and VIP preview the aisles were crowded, the common areas and restaurants filled with worn-out fairgoers, and it seemed as if the only empty seats were sculptures.
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.
Is an exhibition ever too beautiful for its own good? Jenny Holzer’s new show at Cheim & Read, Dust Paintings, is ravishing. But the sensuality of these text-based abstractions, done in oil on linen in mostly muted colors, runs counter to their content, which is derived from declassified government reports of brutalization and death during the Afghan War.
What happens when you combine Ray Rice, football, a meme, and Jenny Holzer?
Censored, blown up by terrorists, and the subject of a four-year legal battle with Chase Manhattan Bank, Mimi Smith’s 1982 installation “October 1, 1981,” an artwork inspired by television news, was briefly the subject of the news itself.
Nancy Spero died in 2009 at the age of 83. The current exhibition of her hand-printed collages from the 1980s and 1990s, From Victimage to Liberation, at Galerie Lelong in Chelsea, is the first show in New York to focus on her work since her death.
Thirty-two years after being labeled the “first radical art show of the ’80s,” the Times Square Show, a raucous and revolutionary DIY art exhibition held in an abandoned massage parlor on 41st Street and Seventh Avenue in the old dirty and devastated Times Square, has been revived by the Hunter College Art Galleries in the exhibition Times Square Show Revisited.
There are many an artist who dedicate themselves to subverting the commodification of their own work and the current exhibition at Nurture Art, Is This Free?, addresses the topic with a three-part summer exhibition.