Morris, who died last week, left us with this intelligent, stimulating, and typically open-ended show.
LONDON — The day began in the Turbine Hall, the 85-foot-tall atrium at the heart of Tate Modern, the most visited museum of modern and contemporary art in the world.
At a press preview earlier this month, Sheena Wagstaff, the Metropolitan Museum of Art’s chairwoman for modern and contemporary art, said that “arguably only the Met” could put on a show like Unfinished: Thoughts Left Visible.
Robert Morris has comported himself for decades as the least minimal of the original minimalists.
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.
During the summer of 1960, dance artists Simone Forti, Nancy Meehan and Yvonne Rainer rented rehearsal space at Dance Players on Sixth Avenue so they could improvise together.
Ten years ago, the Morgan Library & Museum decided it was time to bring its collection up to speed on the art of drawing in the 20th and 21st centuries — a daunting task in itself, and even more improbable in the face of a superheated, late-capitalist art market: at the feast of the trophy-eaters, would the museum be forced to content itself with scraps?
A golden nugget from James Kalm’s Facebook profile page and the birth of a fantastic new term, “vaginal surround sound.”
This is an artist’s essay that explores some of the ideas put forward in Powers’ three-part essay, “Art, Not Suicide,” published earlier this week. -Ed. Note
One of the definitions given by the OED for sculpture is, “as a type of silence or absence of movement of feeling.” After 700 hours of sitting ‘still as a statue’ and silently engaging a series of 1400+ visitors at MoMA, Abramović has completed what is being hailed the longest work of performance art.