An exhibition at Hauser & Wirth uses the theme of seriality to drag photography out of isolation and into the larger framework of art making.
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.”
MILAN — The most startling pairing in The Great Mother, an exhibition that tracks the iconography of motherhood in art and popular culture from 1900 to 2015, is a sculptural stand-off between Sarah Lucas and Thomas Schütte.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
Get out the syringe, it’s time for your shot of art for the week. We promise it won’t be painful. This week the medicine comes in the form of museum exhibitions both big and small, including Sherrie Levine’s retrospective at the Whitney, the much anticipated opening of the Met’s Islamic wing, and round-up of seminal art from the 1980s in Hudson Valley that’s worth the trip to upstate New York. We’re also prescribing two events that mix visual art and music, a combo that is sure to cure any illness.
How many urinals by Marcel Duchamp are there? Turns out there are at least 17. Greg Allen of Greg.org points out that fact and takes the piss [sorry, couldn’t resist] out of Washington Post critic Blake Gopnik for his recent review of “Stolen Pieces” (1995-97) at Postmasters’ Reality is Overrated show by Eva and Franco Mattes. It’s amazing that Duchamp’s “original” idea continues to inspire artists and discussion.