In Calzolari’s recent paintings, organic and metaphysical forces are one: vapors are rudimentary atmospheric gas particles, but they also signify wonder and bliss.
In PURE, VERY, NEW, Paul Stephen Benjamin’s conceptual art pushes the boundaries of the color black and offers new experiences of sound, vision, and light.
Biggers’s current exhibition at Marianne Boesky gallery, Selah, taps into something deeply powerful and ancestral.
Diana Al-Hadid is a cherished former student who is moving beyond talent into something much deeper and riskier, what Emerson called “the science of the real.”
In Thiago Rocha Pitta’s The First Green at Marianne Boesky Gallery, nature is not victimized, but rebellious and intent on reclaiming land lost to humanity.
Portland-based artist Jessica Jackson Hutchins works with paint, ceramics, and furniture to create pieces that are personal, conceptual, and formal.
It’s been about a hundred years since Kazimir Malevich supplanted all imagery in painting with iconic shapes that point not to this world but to one he thought would come.
Shown as part of Beverly Hills John, his third show at the Marianne Boesky gallery, John Waters’s video Kiddie Flamingos made us chuckle, which is rare for a Chelsea gallery work. But then, his gallery art has always been funny.
Beverly Hills John, the John Waters show currently at Marianne Boesky gallery, features works by the artist in a variety of mediums, most born of image manipulation and/or appropriation.
Marcel Duchamp’s original iteration of “Fountain” was lost shortly after its making. The first “Fountain” survives only as a photograph taken by Alfred Steiglitz in 1917, which was followed by a series of replicas.
With ruin porn photographs and discussions of whether creativity can save Detroit persisting at every turn, it was only a matter of time before someone organized an art exhibition about the city. That time has come.
The ADAA Art Show marked its 25th anniversary this year, and the 2013 edition at the Park Avenue Armory was definitely a very mature, stately fair, with only the slightest of dark undertones to its otherwise unsurprising, but elegantly sleek, presentation.