LOS ANGELES — The current show at Sprüth Magers gallery, Eau de Cologne, has a title that might seem like a play on words (that’s what I initially thought), but it is actually quite straightforwardly unironic.
PARIS — Conversations about art and medium-specificity are almost always conversations about history.
MIAMI — The exhibition of over 100 women artists currently on view at the Rubell Family Collection is difficult to review because the works do not all fit into the space and the decision was made to rotate them over the course of the show.
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?
The first time I saw Judith Scott’s work was in Rosemarie Trockel’s retrospective, A Cosmos, at the New Museum.
It’s not very often that one can report that a triptych by an orangutan isn’t the best thing in a show, but it’s not very often that one has the opportunity to take stock of Rosemarie Trockel’s art.
The triptych is a brushy abstraction by a simian named Tilda, and it is hanging on the second floor of the New Museum, where the major exhibition Rosemarie Trockel: A Cosmos is ranging across three stories of gallery space.