Art
LONDON — In the ’70s, photographer (and videographer, and rigorous cultural critic, and possible genius) Martha Rosler brought a critical eye, politically and philosophically, to the medium’s seductive pretenses of objectivity.
Art
LONDON — While one Helly Nahmad sits in a bare concrete prison cell in upstate New York, another Helly Nahmad strides around his lavish Frieze Masters booth in London’s chi-chi Regent’s Park. I don’t know how captivity is suiting the former, but freedom isn’t doing that much for the latter.
Art
SANTA FE — Unsettled Landscapes, the first installment of SITElines, SITE Santa Fe's reimagined model for how biennials are conceived, curated, and structured, is a conglomeration of art from the Americas.
Art
This year, Art in Odd Places (AiOP) considered value, public space, and freedom along 14th Street, from the Avenue C Con Edison station to the High Line, even dipping into the Hudson River.
Art
“You have to get close, then move back, slowly,” I tried to explain to a motley group of graduate students whom I asked to see the recent paintings and drawings by Cornelia Thomsen at the uptown Leslie Feely gallery.
Art
Plastered on the title wall of Saul Steinberg’s 100th Anniversary Exhibition at Pace Gallery is an impenetrable photographic self-portrait.
Art
CHICAGO — White paper sits on white matting within white frames hung on the white walls of Western Exhibitions, the unnerving blank expanse invoking a sense of being thrust into the heart of an endless maze.
Art
One week ago, an installation by artist Abigail DeVille was dismantled in Washington, DC. “The New Migration” was a collection of materials gathered by DeVille during a road trip from DC to Jacksonville, Florida, retracing and reversing the steps of a popular route taken by African Americans fleeing
Art
KINGSTON, Jamaica — Not too long ago, Jamaica’s tourism-promotion board hired some advertising wizards to cook up a clever slogan to help sell the island’s sunny, Caribbean charms to vacationers from North America. They came up with “We’re more than a beach. We’re a country.”
Art
Disclosure, in John Walker’s paintings, comes slowly. A dominant motif — zigzag stripes ranging up, down and across the canvas — colonizes the surface, establishing it as a realm of aggressively brushed abstract patterns. Then one by one, various incidentals emerge — a densely wooded island, a rocky
Art
PHILADELPHIA — “Is Mr. Lynch as compelling a fine artist as he has been a filmmaker?” That’s the challenge Ken Johnson throws down in his New York Times review of David Lynch: The Unified Field at the Pennsylvania Academy of the Fine Arts. And without missing a beat, “The short answer is no.”
Art
The beauty and hell of utopia and dystopia is the subject of Japan Society's Garden of Unearthly Delights, which opened today in Manhattan.