Art
Peering into a Caravan Haunted by Marionettes
As the sounds of a storm fill the gallery, the illuminated caravan begins to clatter with life.
Art
As the sounds of a storm fill the gallery, the illuminated caravan begins to clatter with life.
Art
When Richard Pryor strode through an audience of fans and celebrities at the Hollywood Palladium on December 9, 1981, the comedian — always renowned for his candor and vulnerability — was exposed in an altogether new way.
Art
Occasionally, we are forced to venture beyond Brooklyn to see art.
Art
“Josh Smith: Sculpture” is how the sign reads. Yet behind it is a conservatively installed exhibition of drawings, conventionally framed and tastefully spaced on Luhring Augustine’s neutral white walls.
Art
“The house was more than a skin ... an organism as alive as our own,” Lygia Clark wrote.
Art
Contemporary artists and a few artists from yesteryear are exploring unorthodox and atypical ways to experience the contrast between black and white.
Art
There used to be a time when curators could slap a label on a group of artists, claiming the work to be central, progressive, and an important part of their narrative of art history.
Art
Between the proliferation of galleries in Bushwick and, to a lesser extent, Greenpoint, the small cadre of Dumbo galleries sticking it out, longtime heavyweights including the Brooklyn Museum and BRIC mounting ambitious shows, and Creative Time parachuting Kara Walker's sugar sphinx into the Domino
Art
Every once in a while, a show comes along that offers a reminder of what it must have been like to see something new — old artwork that still brims with the energy and promise of revelation. Luhring Augustine's exhibition of Michelangelo Pistoletto's The Minus Objects is one those shows.
Art
Since painters of any stripe, be it abstract or figurative, no longer work around master narratives, trying to tackle one big issue, it’s common to see group shows of abstract painting arranged around particular interests or strategies a select group of artists may share.
Art
Luhring Augustine holds forth, a garrison mirage, on Bushwick's Knickerbocker Avenue. After several hours of 56 Bogart bohemia, that grey facade, all frosted glass and sleek surveillance, seemed less sinister than inviting, the kind of place a down-to-earth oligarch might pass the time after putting
Art
There is something subversive about Philip Taaffe’s interest in how information can be preserved and transferred from one medium to another. Since the early 1980s, when he first began gaining attention, he has mastered a wide range of processes — including collage, linocut, woodblock, rubber stamp,