What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life?
Emin said she reacted by pushing the attacker away and threatening “to punch her lights out.”
An exhibition at the Grundy Art Gallery looks at how artists have used neon and elements on the periodic table for the past 50 years.
What if art historians applied the same scrutiny to a contemporary installation by Tracey Emin as they did to a Renaissance masterpiece by Leonardo da Vinci?
MIAMI BEACH — Parsing contemporary art’s inscrutable pecking order of markets and sensibilities is already a miserable endeavor, but the stakes inch ever higher in Miami, where the tantalizing gruel of celebrity gets spread preciously thin.
The Museum of Contemporary Art, North Miami (MOCA) present Tracey Emin: Angel without You, the first American museum exhibition dedicated to the acclaimed British artist. On view December 4, 2013, through March 9, 2014, the exhibition is the first to focus on Emin’s use of neon, a medium that has played an essential role in the development of her practice.
Sometimes it’s better to be alone. Here are a few artists who we wouldn’t particularly like to spend a romantic Valentine’s Day with, from the over-sharing to the unstable to the plain unsettling.
On Valentine’s Eve (is that a thing?), Tracey Emin will watch her video piece “I Promise to Love You,” along with the thousands of people that constantly circulate Times Square, as its neon pledges of love scrawl in wavering neon over 15 of Times Square’s giant screens.
On January 22, 1973 the US Supreme Court legalized abortion in a 7–2 ruling in the case of Roe v. Wade. It’s been forty years since that decision, and although abortion remains legal, it’s no less controversial. In fact, it might be moreso these days, if the growing number of restrictions on the procedure throughout the country is any indication.
Well, here’s a conundrum you don’t face everyday: famed art collector Charles Saatchi wants to donate his collection of contemporary work to his home country, the UK, but they don’t seem to want it. (First-world problems!)
This week, new Banksy, artists/writers design money, early Christian art, talking to Gabriel Orozco, catalogue raisonnés, modern art toilets, globalizing art history, design criticism and political photo trends.
PROVIDENCE, RHODE ISLAND — Ever since Pollock splattered his ego onto a canvas in the 1950s, a decided geographical shift across the Atlantic occurred — Europe lost its ruling power as center of the art world and New York stepped into it shoes as the new authoritative hub of contemporary art. Yet, the new exhibition at The Museum of Art at the Rhode Island School of Design, Made in the UK: Contemporary Art from the Richard Brown Baker Collection reminds that there was some pretty fantastic art being made just on the other side of the Atlantic. The exhibition displays work by British artist from the past 60 years, including exemplary works of Britain’s contributions to decidedly international art movements like Abstract Expressionism, Pop Art and Op Art.