Art In America


Badlands Unltd. Offers Onion-Like Ferguson Reply

New York publisher Badlands Unlimited, founded by artist Paul Chan (winner of the 2014 Hugo Boss Prize), has articulated a response to the Missouri grand jury decision that rivals the satirical newspaper The Onion.  …Read more


From the Archive: Schjeldahl, Lynne Tillman and Others on Matisse

Having broken attendance records at Tate Modern, the exhibition "Henri Matisse: The Cut-Outs" is drawing huge crowds to New York's Museum of Modern Art (where it's on view through Feb. 8, 2015), and the artist's works are even proving to be a sensationRead more


The Agenda: This Week in New York

A.i.A. editors suggest a few of the myriad events taking place Thanksgiving week in New York: Marina Abramovic signs limited-edition scarves at the MoMA design store; the Rubin Museum's screening of Pier Paolo Pasolini's "nauseating, shocking, depraved" f…Read more


The Perils of Post-Internet Art

Though its buzzworthy name implies a cutting-edge aesthetic, Post-Internet art reinforces an all-too-familiar gallery system, according to a critic of online culture.…Read more

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Cold War, Cool Art

Richard Kalina reviews A Conspiracy of Images: Andy Warhol, Gerhard Richter and the Art of the Cold War, by John J. Curley.…Read more


The Hole Truth

During the 1970s, Howardena Pindell developed a unique method for creating a textured, memory-laden painting surface by adopting the simple hole punch as an artistic tool, creating distinctive abstractions inspired in part by African textiles.    …Read more


The Fabric of Memory

Thailand's Jakkai Siributr endows his stitched, embroidered and sequined works with a deeply serious sociopolitical import.…Read more

Allen Ruppersberg at Greene Naftali
  • Sean Landers at Petzel

  • Judith Scott at Brooklyn Museum

  • And the Villagers Never Liked You Anyway at Knockdown Center

The Lookout

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

This week Allen Ruppersberg at Greene Naftali; Sean Landers at Petzel; Judith Scott at the Brooklyn Museum; "And the Villagers Never Liked You Anyway" at Knockdown Center.…Read more


Rarely does one come across work capable of unhinging the conditions of its own appearance to the point that those conditions start hovering out in the open. The Secession's recent show of Heinrich Dunst's semiotic sabotages provided one such encounter. After exploring the legacies of modernist painting and design as part of the Viennese Neo-Geo movement of the 1980s, along with colleagues such as Heimo Zobernig and Gerwald Rockenschaub, Dunst (b. 1955) felt he'd reached a dead end in the late '90s. Yet, since 2006, he has been developing a fresh approach that takes conceptual art's encircling of sign, image, language and medium to a new level-mainly by integrating the speaking and pointing body, the centerpiece of Ludwig Wittengenstein's late philosophy. In one of Dunst's speech performances rooted in Viennese concrete poetry, the artist says, "The tongue/My pink tongue," and expo...Read more

Inspired by 19th- and early 20th-century photographic processes, Colombian artist Oscar Muñoz poetically destabilizes the fixity of images, focusing on the elusive, introspective moments when memories develop. This exhibition, which spanned 40 years of the artist's career and comprised over 100 individual components—including sculpture, video and photographic installations—was long overdue. Although the artist's work is well known in South America, it has not achieved the visibility in Europe or the U.S. that it deserves. Dramatically installed in dimly lit galleries, Muñoz's extensive, predominantly black-and-white body of work testified to his technical inventiveness and offered moving meditations on the transience of identity and recollection, themes that are at the core of his practice. Born in Popayán, Muñoz grew up in Cali, where he s...Read more

"A particularly complex and horrible film" is how Ed Atkins has described Ribbons (2014), the centerpiece of his recent exhibition at the Serpentine Galleries. Distributed between three screens stationed around the galleries—which were dimmed and carpeted to somber effect—the video is, as he suggests, abstruse and repugnant. But it is also flippant, melancholic, neurotically self-conscious and—at many points—deadeningly dull. The impact of the work is as irreconcilable as its many ill-fitting parts. Ribbons unfurls a stream of over-glossed CGI, disjointed musical samples and non-sequitur-loaded dialogue. "Dave" is the video's recurring figure—a naked, tattooed creation who soliloquizes in ungraspable streams of consciousness, swills lager and mimes to pop ballads. His pronouncements—flitting between high-modernist rambling and...Read more

A young woman dressed in all white ushered me ceremoniously into a small screening room. A subtitled video began playing on a flat-screen television, opening with a voice speaking in Thai over ethereal, hopeful music: "My name is Korakrit. I was an artist, now I'm an orb." Two white-clad figures walk toward a glowing stupa, signaling themes of transcendence and transformation. This was the intriguing prelude to Letters to Chantri #1: The lady at the door/The gift that keeps on giving, an "immersive experience" created by New York-based Korakrit Arunanondchai at the Mistake Room, a nonprofit exhibition space in industrial downtown Los Angeles. The 27-year-old artist had his first solo museum show at New York's MoMA PS1 earlier this year, in which he presented video works alongside expressionistic paintings on burned-denim canvases. At the...Read more

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