An exhibition at Paula Cooper Gallery underscores not only how engaging and innovative, but also influential and visionary Adkins really was, and remains.
Long after I left Robert Grosvenor and David Novros at Paula Cooper, certain works floated up in my memory, calling me to return.
Raad exposes the way in which our accepted notions of historicizing events are simultaneously fact and fiction.
The artist shares why he would rather place his art outdoors than in an institution.
Grosvenor shares almost nothing with other sculptors working today: He has not branded his work, nor has he made variations on a theme.
In her show at Paula Cooper Gallery, Liz Glynn keeps Rodin’s signature realism and physicality, but sculpts her bodies to be more wretched.
Sam Durant’s “End White Supremacy” goes up on the facade of the Paula Cooper Gallery in New York, and when it comes down is anyone’s guess.
Encountering a boxing match projected on the wall of a darkened room is pretty unlikely while roaming around Chelsea galleries — unless you’re at a Paul Pfeiffer show.
In a small, über-blue chip stretch of 21st Street in Chelsea, three adjacent galleries are concurrently running exhibitions that feature a series of monumental art pieces that move between refined, processed, man-made materiality to earthen structures, and plant life that grows from the soil.
There is a special opportunity right now in Chelsea to explore the color blue.
In 1968, Seth Siegelaub and John Wendler published the first edition of the so-called “Xerox Book.” The untitled publication, which was conceived as an exhibition in itself — and is currently the subject of a show at Paula Cooper Gallery — is now considered a seminal artist book.
Early last March, London’s Conservative mayor Boris Johnson unveiled Hans Haacke’s “Gift Horse,” the tenth commission installed on Trafalgar Square’s Fourth Plinth.