So, let’s just go for it. What the hell happened in art history after the 1950s when the real, discrete art movements started to break down? That’s right — we’re taking the bull by the horns here, tackling the big questions.
Wandering through the Museum of Modern Art, I came across the gallery partially devoted to the work of Robert Rauschenberg. It was the first time I had been there since the iconic “Canyon” (1959) — the one with the stuffed bald eagle — was donated to the museum by the Ileana Sonnabend estate.
Artists’ Book Not Artists’ Book, as the title suggests, is to explore the fine line between whether a book is an artists’ book or not. It all is more playful than that may sound.
With a final series of performances beginning tonight and continuing through New Year’s Eve at the Park Avenue Armory, the Merce Cunningham Dance Company will close, ending nearly sixty years in operation.
While at the landmark exhibition Hide/Seek: Difference and Desire in American Portraiture at the Brooklyn Museum, I realized I had to start my review with a statement that will look simple and quite possibly stupid: Hide/Seek is more than David Wojnarowicz’s “A Fire In My Belly.”
What is it about boxes that is so fascinating? I was thinking this as I went into Chicago’s Museum of Contemporary Art to see Pandora’s Box, a show that displays artist Joseph Cornell’s signature assemblages alongside the works of artists who allegedly were inspired by him or who were in artistic sympathy with him. I can think of historical precedents: medieval reliquaries; Victorian memento mori, which often look strikingly like Cornell’s miniature worlds. But these forebears don’t quite explain the combination of weirdness and visual beauty of something made by Cornell, nor the undoubted fascination with him since his death. His boxes frame the objects in a different way than a conventional picture frame, of course; they concentrate the viewer’s attention; but there’s something else, which finally came to me after I’d seen this show.
Just over two weeks ago, a story about an excavated Banksy in Berlin ricocheted across the global media. Most of the coverage featured closely cropped smiley faced riot police and the name “Banksy” screamed in the media coverage. From the tone of the coverage and the emphasis on the discovery of a lost Banksy most people probably assumed it was another case of an opportunist commercial gallery swiping a street art work and displaying it in order to make a potential profit. What many people — and news outlets — didn’t realize was that the glimpse of the Banksy was only part of a much larger work by artist Brad Downey.
Dear Merce Cunningham,
As your company comes to a close this winter, I have been on the look out for all things Merce. Wanting to understand you better and hoping that I could still understand you even after you have passed, I visited Charles Atlas’s video tribute to you now at the New Museum not just once, but twice.
In the summer of 1952, artist Jack Tworkov traveled to Black Mountain College in Asheville, North Carolina. A leading figure of the New York School, his time at the influential American school, which some people consider “America’s Bauhaus,” is the subject of a new exhibition. We talked to the curator, Jason Andrew.
The Star-Tribune has the story of how Walker Art Center in Minneapolis, Minnesota purchased a treasure trove of American art accumulated by dance legend Merce Cunningham. The stash “includes at least 150 major objects and perhaps thousands of smaller items,” according to the newspaper.
Following up on Merel van Beeren’s investigation into the future of Merce Cunningham’s Studio after its founder’s death, we bring you a graphic history of the intersection of visual art and modern dance. From Cunningham collaborating with John Cage, his life partner, and Robert Rauschenberg, to sculptor Isamu Noguchi’s work with Martha Graham, it’s all here.
Yesterday afternoon, I ventured out into the bordering on bad weather and braved the gray skies to bring you the latest on Chelsea this November. The gallery district is probably much as you remember it, with high-end galleries showing off their blue chip stables and smaller spaces skipping to keep up. Yet there are still pleasant surprises to be found in the warehouse-strewn streets, from lesser known painters that include (gasp!) a ceramicist to commercial shows that may as well be museum retrospectives. Continue below for the blow-by-blow of my blue-chip Chelsea trip.