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.
‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals.
PORTLAND, Oregon — Walking through the Pearl district of Portland, (what many Portlanders refer to as the ‘bougy Pearl,’ native slang for what they believe to be an elitist and distinctly un-Portland neighborhood) and you could easily miss the entrance to the Lumber Room.
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?
Boxing Day is a holiday celebrated by aesthetes the world over. In order to purify ourselves after the rampant commercialism and visual over-stimulation of the past month, we devote this day to the solemn contemplation of square and rectangular Minimalist sculptures.
PARIS — In a search for art that reacts to the inequalities of globalization, must art lose touch with the sort of grace that exceeds the hand, a grace that couldn’t be anything but artificial and technological?
I know what you’re thinking. There can’t be a ‘how to talk about Oscar Murillo’ because we don’t have a decade or so of commentary, he’s too new to have talking points. He’s 28 for God’s sake, you protest.
What has really riveted the attention of the art world in the last few seasons is the law.
Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.
You’d think that after two weeks in Italy, there’d be no better way to ease into the New York scene than Sol LeWitt’s monumental “Wall Drawing #564: Complex forms with color ink washes superimposed” (1988) at the Paula Cooper Gallery.
Did I hear you sigh with half relief/half regret thinking you would never have to talk about Sol LeWitt again? Poor fool, that time will never come!