The studio is a place of self-mirroring, self-haunting, a space where the artist plays out the day-to-day reality of the fantasy of being an artist.
There is so much information handed to us in the exhibition, Eileen Agar: Angel of Anarchy that we risk forgetting what we might think if we came fresh to a painting.
Painting’s funeral was canceled at the last minute.
Throughout his career, Rakowitz has been making artful reconstructions of lost heritage.
Thomas Ruff’s photographs question history, art making, and the medium itself.
The Whitechapel Gallery has recently commissioned the feminist collective to create a new artwork that resurrects the 1986 Guerrilla Girls campaign “It’s Even Worse in Europe.”
LONDON — When I first walked into the Whitechapel Gallery, I thought I was looking at a Barnett Newman zip painting on the far wall.
Whitechapel Gallery and the MIT Press recently published Queer, the latest addition to Documents of Contemporary Art, a popular series of anthologies on major themes and ideas in contemporary art.
LONDON — It is almost impossible not to notice the recent flourishing of sound installations in the British art world.
Before even opening The Object, Whitechapel Gallery and the MIT Press’s latest installment in the Documents of Contemporary Art series, the book’s title stares back, interpolates itself, asking questions: What is an object? Which object?
BRIGHTON, UK — While laid up in Freud’s final consulting room, artist David Blandy was moved to recall a childhood trauma: “I grew up on the crime side, the New York Times side.” A hypnotherapist encouraged him to continue: “Yo, dwelling in the past, flashbacks when I was young. Who ever thought that I would have a baby girl and three sons?” Astute observers will recognise those experiences as rap lyrics, so why was a floppy-haired English artist channelling Raekwon and Ghostface Killah? And, although beside the point, just what would the grandfather of psychoanalysis have made of life on the mean streets of Staten Island?