Murillo’s new exhibition, Social Altitude, uses obfuscation and movement to examine the complex conditions of a globalized world.
Lawrence Abu Hamdan, Helen Cammock, Tai Shani, and Oscar Murillo told the judges in a letter, “The politics we deal with differ greatly, and for us it would feel problematic if they were pitted against each other.”
Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo, and Tai Shani have been shortlisted for the coveted prize.
The four artists shortlisted for this year’s prize are being masked by the company Stagecoach, whose chairman was behind a homophobic political campaign in 2000.
Over the summer, Murillo, known for his monumental installations of black flags at the Venice Bienniale, came to Ras al-Amud to take this ongoing body of work, “The Institute of Reconciliation,” in a new direction.
Even if Murillo poked fun at the art world’s oblivion and privilege, what a fool I was to think that my stint in Palenque would instantly morph into a sequel to his work.
BASEL, Switzerland — The opening of Art Basel earlier this week wasn’t anything you wouldn’t expect at the Swiss fair: The world’s wealthiest were queuing at the entrance, half-forcing their way in by pushing and jumping, in the same way that people run into Walmart on Boxing Day.
As news of art fairs and Bjork took the spotlight earlier this month, I lingered on the Museum of Modern Art’s The Forever Now: Contemporary Painting in an Atemporal World, up through early April.
On this week’s art crime blotter: selfie-taking vandals at the Colosseum, former Vatican worker holds stolen Michelangelo letter ransom, and ISIS mounts cyber attack on Midwestern crafts museum.
The Forever Now: Contemporary Painting in an Atemporal World, the new exhibition at the Museum of Modern Art, prompted thoughts of Elizabeth Kübler-Ross’s five stages of grief: denial, anger, bargaining, depression and acceptance, though I’m not sure how much acceptance there is in the end.
In a dispatch this weekend appearing in Artforum‘s usually stultifying Scene & Herd blog, it was reported that Oscar Murillo had carried out an intriguing intervention at a party hosted by the collector Frances Reynolds.
In one of those useful coincidences of the New York art scene, two current exhibitions discuss global commerce and history, labor and money through one peculiar entry point: sugar.