In his new works, Gober pulled me into another world, one that was both illuminated by natural light and full of cold shadows.
Is Gober taking stock and summing up his life at his latest exhibition at Matthew Marks? If so, he sure is breaking new ground while at it.
In addition to the centuries of trauma that artists are exploring and attempting to reconcile with contemporary reality, there is also an underlying solidarity that weaves itself into the fabric of Non-fiction at the Underground Museum.
Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”
Leonard Nimoy, the actor whose name and face were synonymous with Star Trek‘s Spock, died this morning at the age of 83.
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.
The sprawling, high-ceilinged contemporary art gallery on the second floor of the Museum of Modern Art might have been built for Richard Serra, but Robert Gober owns it.
Sometimes “homage” is the only way to understand things.
By Monday, the reality of the mandated reductions in government spending, otherwise known as sequestration, had begun to sink in. For its part, the New York Times announced, to no one’s surprise, “the split between American workers and the companies that employ them is widening and could worsen in the next few months as federal budget cuts take hold.”
Looking at the proliferating cross-pollination of fine artists and fashion design (Nan Goldin for Jimmy Choo, Terence Koh for Opening Ceremony, Ai Weiwei for W), we decided to take a look back and remember some of the truly successful collaborations within these two fields.
MoMA photography curator Roxana Marcoci knows that we are experiencing a “renaissance of performance”. The show she has curated in collaboration with Eva Respini, Staging Action: Performance in Photography since 1960, will explore the role of the photographic image in this surge of performative work, both as a document of the performance and as art work on its own. The MoMA exhibition, which opens this Friday January 28, begins in the 1960s at a time when performance began to emerge as a singular field of art based on the carrying out of specific art actions.