Art In America

In the Flesh: Mark Bradford in the US Pavilion

Visitors to Mark Bradford's exhibition as the official United States representative to the 2017 Venice Biennale must enter the neoclassical US pavilion using a single side entrance, where they immediately encounter a massive, hulking obstacle suspended from the ceiling. ...Read more


Choose Your China: Three Pavilions in Venice

Since 1972, the United States has maintained the “One China” pretense that Taiwan and Hong Kong are not culturally or politically distinct from Mainland China. But no such fiction prevails at the Venice Biennale.…Read more


The Artist’s Sake: Christine Macel’s Venice Biennale

Christine Macel's primary intention for the fifty-seventh edition of the Venice Biennale, which she has titled "Viva Arte Viva," becomes apparent as soon as you enter the Central Pavilion in the Giardini.  …Read more


Performance: Time Out

The enduring legacy of Tehching Hsieh, who will represent Taiwan at the Venice Biennale this year, rests on five grueling yearlong performances that he completed in New York between 1978 and 1986.…Read more


Tehching Hsieh: Art’s Willing Captive

Isolation and endurance are the hallmarks of Hsieh's grueling, yearlong performances.…Read more

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A Beckoning Angst

Living a luxurious life while depicting physical and spiritual destitution, France's Bernard Buffet was both wildly popular and, in some quarters, critically reviled. A recent exhibition in Paris presented him as a painter of surprising complexity. …Read more


From the Archives: Florine Stettheimer—Rococo Subversive

On the occasion of the traveling retrospective, "Florine Stettheimer: Painting Poetry," currently on view at New York's Jewish Museum through September 24, we looked back in our archives for this 1980 essay by historian Linda Nochlin. Stettheimer (1871–19…Read more


Exchange Program: The New Institute of Arab and Islamic Art

The works in the opening show at the new Institute of Arab and Islamic Art (IAIA), generically titled "Exhibition 1," and in most cases borrowed from the artists or their galleries, owe a debt to the very different approach to geometry in the Islamic worl…Read more

Elias Sime at James Cohan
  • “A Surrealist Banquet” at Di Donna

  • Mariah Robertson at 11R

  • Cindy Ji Hye Kim at Helena Anrather

The Lookout

A Weekly Guide to Shows You Won't Want to Miss

This week we've got our eyes on Elias Sime at James Cohan; “A Surrealist Banquet” at Di Donna; Mariah Robertson at 11R; and Cindy Ji Hye Kim at Helena Anrather.…Read more



In his recent exhibition at Postmasters, David Diao utilized his usual vocabulary of modernist tropes and infographics to revisit his own childhood. Titled "HongKong Boyhood," the show focused on the years 1949 through 1955, which the artist, then aged six to twelve, spent with his family in Hong Kong after they fled the Communist takeover of mainland China and before they immigrated to the United States. "HongKong Boyhood" served as the second chapter in an autobiographical narrative that began with Diao's 2009 Postmasters exhibition, "I lived there until I was 6 . . . ," which centered on the artist's early life in China.  

Hung near the entrance to the gallery for "HongKong Boyhood," the large, horizontally bisected canvas Arrive/Depart (2016) provided a timeline for the period explored in the show. The upper half, painted bright orange, cont...Read more


"Kader Attia: Reflecting Memory" began when Northwestern University's Block Museum extended an invitation to the French-Algerian artist to use the resources of the school's Herskovits Library of African Studies in the spring of 2015. The result was a spare and scholastic exhibition that rewarded the patient viewer with startlingly emotional content. 

The cut and the suture are the chief conceptual and material operations of Attia's work; they epitomize the violence of colonialism and the messy work of repairing the damage done by it. Two partitions cleaved a single room into three, dividing the works on view (all untitled and dated 2016) into what the show's introductory wall text defined as three "chapters": a grouping of three collages, a sculpture, and a "film-essay" screened in a provisional black box at the rear of the gallery. 

Two of ...Read more


For his first exhibition of paintings in New York in nearly a decade, Italian artist Sandro Chia offered a rather overt reflection on his life, albeit one delivered in the painterly and metaphorical terms for which he is known. Now seventy, Chia was once a bad boy of the Transavanguardia, which included like-minded compatriots such as Francesco Clemente, Enzo Cucchi, Luigi Ontani, and Carlo Maria Mariani and polarized the international art world of the late 1970s and '80s. Transavanguardia not only reintroduced figurative painting into the predominantly Minimalist and Conceptual scene of the period, but proposed devices like allegory and mythology as valid strategies in contemporary art discourse, much to the chagrin of the art-world establishment at the time. For better or worse, the group helped instigate the art-market boom of subsequent years. 

 ...Read more


Nina Chanel Abney's exhibition "Royal Flush," which surveys the ten years of her career to date, begins with a bang and ends with a digital plink. Upon entering the show, the viewer is confronted with Abney's MFA thesis work, Class of 2007 (2007), a large two-panel painting showing the artist (the only black person in her year) as a white prison guard and her classmates (most of whom were white and none of whom were black or dark-skinned) as black inmates in orange jumpsuits. It's a witty comment on racial imbalances in the art world, coupled with an invitation for audiences to reflect on the inverse imbalances that exist in America's prisons. Kitty-corner from this opening salvo—moving from a drippy Alice Neel figurative style to a punked-up '50s cartoon modernism—is my favorite work, Close But No Cigar (2008). This seven-by-tw...Read more

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