With Drawings for Word Book, Paul Chan revisits the philosopher’s important text, illustrating its terms with childlike receptiveness.
In his latest exhibition The Bather’s Dilemma, Paul Chan’s lofty claims act as dead weight in an otherwise elegant expression of human emotion.
This month, hear directly from architects and contemporary artists during programs that celebrate the Frank Lloyd Wright building anniversary and engage with exhibitions on view.
Reviewing erotica is a difficult task, and maybe a futile one.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
The celebrity curator may be a phenomenon on the rise, but before Klaus Biesenbach and Paola Antonelli, there was Hans Ulrich Obrist. Obrist, who’s currently the co-director of exhibitions and programs and director of international programs at London’s Serpentine Gallery, has a list of curatorial accomplishments so long, it’s daunting. And it turns out he’s been taking notes the whole time.
CHICAGO — Last month in Halmstad, Sweden, two teenage girls took a selfie together in a bathroom while wearing balaclavas and holding a knife. They would go on to rob a fast-food restaurant making off with a mere $400 before getting arrested. The cops found that selfie on one of their smartphones. How stupid can you get, right?
2012 was a great year for digital art. As Tumblr rocketed over 25 million hits a month and Instagram became a new venue for creative expression, artists continued to traverse the internet’s sprawling landscape and confront us with the weirdness of our own experiences of virtual space. In this end-of-year roundup, I’ll look at ten events, moments, and trends that marked these past 12 months in digital art.
Sometimes an exhibition reminds you of why exhibitions exist, those surprising moments when usually dull curatorial exercises become transcendent experiences, reinvigorating overlooked corners of art history. I Am Still Alive at the Museum of Modern Art is one of those exhibitions, defiant and vivacious as anything I’ve seen in New York in the past few years. The show focuses entirely on drawing, demonstrating contemporary drawing’s engagement with the politics of living and everyday life. This is art as struggle and art as achievement, nowhere more reaffirmed than in On Kawara’s telegrams sent to the artist’s dealers and friends simply stating: “I am still alive.” To make art and to fight through problems and conflicts, social or personal, through the medium of art is to be alive.