Knock Knock throws art viewers into the weird situation of laughing at the overspecialization of our language in that language, deriding the exclusivity of in-jokes with further in-jokes
Ryan Gander
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Canada’s Newest Contemporary Art Museum Opens in Saskatoon
A new museum hopes to connect this small Canadian city to the world through a rich program that will include indigenous and international contemporary art.
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Look Before You Sit: At Frieze New York, the Seats Are All Sculptures
Frieze New York opens its doors to the public today, but already during yesterday’s press and VIP preview the aisles were crowded, the common areas and restaurants filled with worn-out fairgoers, and it seemed as if the only empty seats were sculptures.
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The 2015 Armory Show in 23 Superlatives
The 2015 Armory Show delivers pretty much what you’d expect of the 2015 Armory Show: some quite good art, some pretty bad art, and a lot of completely harmless stuff in between.
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Not for Sale: Outside the Convention Center in Miami
MIAMI BEACH — “There’s a lot of product going on here,” I heard a woman say into her cell phone at the mega-art fair Art Basel Miami Beach 2014. Indeed, $3 billion worth of art is being offered for sale this year, according to the event’s organizers.
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Superlooper: Ryan Gander’s Many Dimensions
“That was my first lucky break,” Gander recalls, as we sit down to discuss his work on the occasion of his latest exhibition at the Manchester Art Gallery titled Make Every Show Like It’s Your Last.
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A Fundamental Rupture: ‘Itself Not So’ at Lisa Cooley
An intriguing concept: how to create an art exhibition about the inability to communicate? That is what curator Rachel Valinsky has set out to do in Itself Not So, the current group show at Lisa Cooley on the Lower East Side, and for the most part, the selection she has made neatly vaults past the inherent paradox of the proposition.
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Seeing Through the Crowds at the 2011 Venice Biennale Part II: The Arsenale
The Arsenale and its Corderie (Rope Walk) compose the remainder of the curatorial effort of the Biennale’s director. It is the sprawling nasty sibling of the Padiglione Centrale, and is somewhat of a chore to tackle. The entire layout of the Arsenale this year feels disjointed. On a whole, I felt like there was a dearth of strong work. I believe Curiger had aspirations to move beyond the trends of participatory art and ostentatious work seen everywhere else in Venice and other art fairs.
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Going Contemporary at the Armory
If the art world has been about globalism for quite a while I can say that is more true now than ever — if that’s possible.
