Sculpture at Luhring Augustine posits contemporary sculpture as a corrective to politically regressive monuments in the United States.
LONDON — If all art is subjective, mirrored art is doubly so. And if there is one tendency at Frieze this year which cannot be ignored it is the use of reflective surfaces, as if to cause you twice as much grief in judging the work.
Fashion as a basis for genuine artistic work may be dead. Even when it’s properly approached and used, as in Cindy Sherman’s fashion editorial series or the early installations of artists-cum-couturiers Zowie Broach and Brian Kirkby under the Boudicca label, I tend to find that the medium isn’t being mined for all its potential. Photographer K8 Hardy’s “Untitled Runway Show,” a performance piece mounted on May 20 as part of her work in the Whitney Biennial, seems to have proven that in the hands of popular contemporary artists, fashion in a museum can be as nauseating as the debauchery on display at Fashion’s Night Out.
Editor’s Note: Peter Dobey published a series of photo essays (1, 2, 3) about this year’s Venice Biennale at the beginning of June. This is a long-form essay (to be published in three parts) that explores the work at the Biennale.
* * *
PARIS — It is difficult to write about Venice, just like it is difficult to really SEE Venice. Individual experiences of art fade away into the oversaturation that is the Venice Biennale in the same way the city of Venice is sinking into the Adriatic. There is the ontological experience of Venice and the problem of one’s ability to encounter it. Then there is the physical impossibility to see everything the Biennale offers you and all the things it doesn’t, especially when in Italy.