Former workers who spoke to Hyperallergic reveal a culture of rampant mistreatment at the artist’s studio.
Who would have thought that still lifes would create such a strong reaction?
This list barely scratches the surface of the city’s artistic offerings this year, from overdue retrospectives to surprising sides of artists we know well.
I’m eating a single Ritz cracker, its underbelly embellished with a creamy wave of peanut butter.
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?
It’s been over a year since we visited the opening of Museum, the diminutive institution housed in a Cortlandt Alley elevator shaft in Lower Manhattan, so I recently stopped by to see their summer exhibition. The show is more like an eclectic installation of 15 small exhibitions, from tip jars to Chinese Joss paper to Tom Sach’s Mars excavation tools to pornographer Al Goldstein’s personal possessions to objects crafted by prisoners.
Tom Sachs’ Space Mission: Mars is a lot like Space Camp for adults. For me, Space Camp represents a forever unattainable dream of my childhood. I grew-up on the Space Coast in Florida, watching every shuttle launch, dreaming of going to Space Camp, but never being able to afford it. I have a feeling that a young Sachs also dreamed of going to Space Camp.
An animated GIF tells you what you need to know from last night’s Creative Time party.
I can’t say I wasn’t charmed by Marble Sculpture from 350 B.C. to Last Week’s title, though it’s a tad overblown. And I was pleasantly surprised by the almost gauche clutter I encountered on the gallery’s routinely Spartan first floor, with thirty-one midsize-to-extra-large artworks from wildly different historical periods crowded together like refugees from an intergalactic conflict.