Most surprising in the Denver Art Museum’s current landscape photography show is the number of photographers who never enter the landscape, introducing new relationships within the genre and medium.
For a one-night exhibition at the Lower East Side Ecology Center’s e-waste warehouse in Gowanus, artists transformed outdated and damaged devices into interactive installations and sculptures.
In terms of things we photograph the most, the moon probably ranks pretty high, especially when it floats in the cosmos as a full-bodied orb.
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.
For meditations on time, there are few places more frenetic with marking the seconds than Grand Central Terminal. The hundreds of thousands of people that pass through the station each day create a constant motion around the gold clock that sits calmly ticking away the moments in the center of the Grand Concourse. It’s around this idea that On Time / Grand Central at 100 was organized by MTA Arts for Transit and Urban Design.
The Aperture Foundation, created in 1952, did much to alter photography’s reputation at a time when it was not yet considered art. Sixty years later, for the current anniversary exhibition, Aperture Remix, the foundation commissioned ten photographers — Rinko Kawauchi, Vik Muniz, Taiyo Onorato and Nico Krebs, Martin Parr, Doug Rickard, Viviane Sassen, Alec Soth, Penelope Umbrico, and James Welling — to revisit and respond to one of its publications, an issue of Aperture magazine or a photography book, that inspired their own work.