Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
The summer hues of coastal Massachusetts deeply influenced Frankenthaler; its landscapes and seashores would become her muses for more than a decade.
Sonnier explored interactive video and sound work early on, and has regularly produced complex public artworks in neon, but he is just as conversant in the humble and handmade.
Hyperallergic staffers pick their favorite destinations within three hours of the city.
Digging deeply into his own psyche, Graham was able to cast off the pastiche of styles that had been crowding his mind’s eye, and follow his own peculiar path.
WATER MILL, NY — On the same day the Apollo 11 Lunar Module touched down on the Moon, an art collective in Japan was rowing on a giant white arrow down the rivers between Kyoto and Osaka.
SAG HARBOR, NY — Shortly after the 45-foot-long, angular vessel docked at Long Wharf in Sag Harbor, a mallard settled into a planter affixed to the bow and laid six eggs.
Alexis Rockman is probably known best for his large-scale, vividly colored paintings that encapsulate the threatened state of the natural world, often integrating futuristic imagery.
There are hurdles to cross before getting to the rewards of Alan Shields: In Motion, in its last week at the Parrish Art Museum, and even then some may be eluded; those found, however, are sweet and sustaining.
Last Saturday, a diverse group of art enthusiasts, collectors, gallerists, art advisors, museum professionals, and artists joined Hyperallergic for a day trip to the Hamptons.
Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet, which was organized by Klaus Ottmann and Dorothy Kosinki for The Phillips Collection, Washington DC. (February 9–May 23, 2013) and is currently at the Parrish Art Museum, Watermill, New York (July 21–October 27, 2013), is — for many reasons — both long overdue and a game changer. For one thing, it brings Alfonso Ossorio back into view.
I had arrived at that inevitable point in every coastal vacation where I felt that if I saw one more light-flooded, water-meets-horizon landscape, I would boot. Just when I thought I couldn’t take any more, I stumbled upon the Parrish Road Show, a series of installations and events organized by the Parrish Art Museum in Southampton, NY. Described as “an innovative summer series created to generate transformative convergences between artists, visitors and diverse members of Long Island’s East End community,” the Road Show cured my seascape sickness by demanding something more from me as a viewer than a casual gaze as I walk by; the artworks triggered action.