Chicago-based artist David Leggett is the subject of the "First Look" column in our June/July issue. Here, Leggett introduces a compilation of his favorite videos, many of which tackle thornier aspects of the American experience with humor....Read more
Informed by experiences of life in different cities, French-Bosnian artist Maja Bajevic engages with the foundational concepts of modern society, such as gender roles, religious dogma, and the free market, and how these concepts play out in everyday life.…Read more
The Museum of Capitalism is unusual among institutions that call themselves museums.…Read more
Autoportrait (2017)—the sole work in Luke Willis Thompson's first solo exhibition in the UK, on view through August 27 at London's Chisenhale Gallery—focuses on a black subject afflicted by police violence.…Read more
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The exhibition "WHY PICTURES NOW," a survey of Louise Lawler's work from the 1970s to the present, opens at the Museum of Modern Art in New York this week. We looked in our archives and found "In and Out of Place," an article that artist Andrea Fraser wro…Read more
by Leah Pires
Louise Lawler's current exhibition at the Museum of Modern Art in New York focuses on her long-standing practice of photographically re-presenting the work of other artists, often in domestic settings or unexpected combinations––an approach many younger c…Read more
Yves Tessier’s paintings, ten of which were on view in this exhibition, feature stylized figures that have been reduced to essential elements yet retain a vitality and distinct presence. His favored medium is casein on aluminum. Casein is a rapidly drying milk-based paint that was developed in ancient Egypt and was used in commercial illustration into the 1960s. Tessier nods to the medium’s long history in his works, which formally allude to Egyptian friezes, illuminated manuscripts, and comic book illustrations.
Tessier, who was born in 1955 in Montreal, maintains studios in both Montreal and Harlem. New York’s Central Park was the backdrop for a number of the works on view, including Ghost Bathers 2 (2017), which depicts six women in and around a teal-colored body of water—some of them standing on rocks, oth...Read more
Jacqueline de Jong is perhaps best known for her affiliation with the leftist Situationist International, for which she edited the Situationist Times between 1962 and ’67, giving particular attention to the wildly spontaneous work of CoBrA. “Imaginary Disobedience,” the Dutch artist’s first solo exhibition in Los Angeles, shifted focus to her own art. Installed in the main gallery and back office of Château Shatto, the mini-overview featured works dating from 1962 to 2016.
Tangled limbs, gaping mouths, and distended anuses jostled for space in the fourteen expressionistic paintings and three works on paper on display. There were interesting formal experiments, from the painted screen Le Salaud et les Salopards (Bastard and Scumbags, 1966) to De achterkant van het bestaan (The Backside of Existence, 1992), a v...Read more
Among the fascinating aspects of Teresita Fernández’s probing, landscape-themed exhibition, titled “Fire (America),” was her use of natural materials: clay, fire, charcoal, and paper. Installed on the back wall, the eight-foot-high, sixteen-foot-wide Fire (America) 5, all works 2017, appeared as a looming, blazing landscape painting from afar but consists of thousands of slightly askew glazed ceramic pieces. The top and bottom are lustrous black, suggesting the sky and earth at night. In the middle, on a dark horizon line, an orange, yellow, and crimson conflagration glows like a nocturnal forest fire. Nothing indicates the cause of the fire or where and when it might have happened, although the landscape, with its scale and rugged drama, suggests that of the American West. The image could represent a naturally occurring fire or one induce...Read more
Performance arguably persists only in the document, the remnant, the re-creation. Though the Brazilian artist Hélio Oiticica, whose too-brief career spanned from the mid-1950s to the late ’70s, is not typically designated a performance artist, his work invites interactive responses from the “participator” (his preferred term for the viewer). At the Art Institute of Chicago, “Hélio Oiticica: To Organize Delirium”—which originated at the Carnegie Museum of Art in Pittsburgh and opens at the Whitney Museum of American Art in New York on July 14—purported to restage Oiticica’s participatory works. Yet the show’s invitations to activate certain pieces were in most cases insincere and conditional, as they contradict the museum’s fundamental mission of archival preservation—a mission that inevitably t...Read more