Art In America


Rijksmuseum Enters 21st Century with New Wing, Photo Show

Holland's largest museum, best known as a home for old masters, this weekend debuts a newly renovated wing hosting a photography exhibition that stresses modernity.…Read more


The Agenda: This Week in Los Angeles

A.i.A. editors suggest a few of the myriad events taking place this week in Los Angeles: a lecture by filmmaker James Benning at the Hammer; a performance by Liz Glynn and Dawn Kasper at Redling Fine Art; a discussion of Marsden Hartley by Lari Pittman…Read more


From A.i.A.’s Ofili Archives: Linda Nochlin on “Sensation”

On the occasion of Chris Ofili's new show at New York's New Museum, A.i.A. delved into the archives. The controversial 1999 exhibition "Sensation," at the Brooklyn Museum of Art, included Ofili's The Holy Virgin Mary, which was the target of protest and vRead more


The Museum Interface

Two experts assess the impact of digital media and new design on today's cultural institutions.    …Read more

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.@ChristiesInc New York has promoted Elizabeth Beaman to head of the American art department, succeeding Liz Sterling.


Design in Flux

Change your life and get a job—this was the startling advice that Fluxus founder George Maciunas gave his fellow artists in 1964. But what did he really mean?    …Read more


In the Studio: Richard Tuttle

Richard Tuttle began showing his work in the mid-'60s, at the age of 24, and quickly became a significant contributor in an art scene that included artists as diverse as Robert Smithson and Agnes Martin. While some of Tuttle's early, spare work builds upo…Read more


Pantheon of the Anteater, Part II

In the second installment of a two-part article, the author continues his account of taking a free art criticism course in fall 2013 taught by David Salle at Bruce High Quality Foundation University in New York. The first installment appeared in A.i.A.…Read more

Tommy Hartung at On Stellar Rays
  • “Work it Out” at Momenta Art

  • Zarina at Luhring Augustine

  • “Dear Mr. Thanatos” at Cristin Tierney

The Lookout

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

This week Tommy Hartung at On Stellar Rays, "Work it Out" at Momenta Art, Zarina at Luhring Augustine and "Dear Mr. Thanatos" at Cristin Tierney…Read more


The problem with environmental art is the undeniable gravity and unassailable rectitude of its theme. It may seem irresponsible for artifice to tackle a subject best left to scientific research or documentary record. Like any "worthy" topic, it can resolve itself as a preaching to the converted. Henrik Håkansson dodges this pitfall by showing nature to be as predatory and entropic as human beings, who of course are nature themselves. He implicates himself in the destruction he is diagnosing. Håkansson's exhibition at Meyer Riegger documented or presented dead or dying insects. And yet, a first glance into the gallery suggested an installation of formalist, abstract art. Along one wall were nine yellow rectangles, each encased in a plexiglass box frame. Comprising the "Indefinite Swarms series #01: Untitled (Sphegina sibirica), June 2009," the sheets were gridded and pe...Read more

Born in southwest Germany in 1958, Thomas Ruff has long been viewed as a key figure of the Düsseldorf School of photography, having studied under such greats as Bernd and Hilla Becher at the Düsseldorf Art Academy (where he later taught). Ruff earns his reputation in part through his continual innovation, leading him to explore in recent years the experimental possibilities offered by digital image-making and camera-less photography. The exhibition at Zurich's Mai 36 consisted of new works from Ruff's "Photograms" and "Negatives" series. The "Photograms" on view are huge prints, with six pieces nearly 8 by 6 feet and one even larger work in landscape format. They are glorious yet enigmatic images, and no wonder, for Ruff creates them with an elaborate process he devised himself. Whereas Surrealists like Man Ray generated monochrome photograms by placing objects on light-...Read more

Ged Quinn's latest pictures at Stephen Friedman Gallery stacked up a kind of bonfire of the painterly vanities. On view were several of the luscious and swarming scenes that have become his hallmark. Sweeping coastal landscapes—bearing a passing resemblance to the pastoral visions of Claude Lorrain—appear littered with odds and ends from the scrapheap of (art) history and cinema, whether Op art riffs or fragments of Pasolini and Godard. Quinn's work has tended, until now, to harbor a guiding tension. A macrocosmic image (echoing the style of one or another old master) has been countered by the mass of smaller viral interpolations nestling within it. Certain new works uphold this dualism: in two fantastical portraits, stylistic interjections (Cubist facets or a Bacon-style "space frame") furl around the core subjects without knocking them off-center. But we also see ...Read more

A black-haired, denim-clad woman stands with her back to the viewer and arms out to her sides in Rebecca Belmore's sister (2010), a single photograph split between three backlit transparencies that was included in this exhibition, titled "KWE," at University of Toronto's Barnicke Gallery. She initially appears empowered, but then doubt creeps in: is she being searched by police? In a booklet accompanying the show, curator Wanda Nanibush notes that the woman is Aboriginal and that the ambiguity of the image is typical of Belmore's works, whose subjects seem forever caught between "self-possession and dispossession." The 54-year-old Belmore, who represented Canada at the 2005 Venice Biennale, is best known for her interventions at sites where colonial power structures still operate. Co-organized by Toronto's Scotiabank CONTACT Photography Festival, "KWE" consisted...Read more

Sept. 2011

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