The artists in Piecework embed intriguing, coded messages into their quilts.
In a real and deep sense, Schneeman was an integral part of a historical moment taking place on the Lower East Side before gentrification.
Vanessa German’s show packs a punch, and is especially powerful in the context of the national politics of the past year.
The constant data collection on our lives, from iPhone usage to subway card swipes, transforms through Laurie Frick’s art into portraiture.
Donna Sharrett’s work is both emblematic of its time and difficult to classify.
Sometimes an artist may find inspiration in that ineffable zone where, as the French existentialist writer Simone de Beauvoir once observed, “things of the spirit come first.” Sometimes, too, the most evocative art can emerge from the depths of another endlessly abundant, more fugitive source.
Starting in the late 1960s, in the New York art world and internationally, Holly Solomon was for many a genuine star and maybe even, in Andy Warhol’s lexicon, a “superstar.”
MIAMI — Perhaps the most defining feature of art fairs is their organizational structure: floors divided into white-walled, cubicle-type booths; important galleries selling expensive work situated near the front or center; strategically placed VIP lounges and bars. So perhaps it’s no surprise that, wandering the aisles of this year’s Miami Project fair, I found quite a number of artists making, engaging with, and unpacking systems.
I first saw the work of artist Thomas Lanigan-Schmidt earlier this year at MoMA PS1. The exhibition, appropriately titled Tender Love Among the Junk, nearly left me breathless: not only was it comprised of several rooms of quirky, colorful, astounding works, but the richness of the art — its layers and details, the way it opens up to prolonged revelation — made the show feel larger. Now a wide range of his work is on view at Pavel Zoubok gallery.