Art In America


Lauder’s Cubist Quartet at the Met

One of the exhibition's pleasures is the opportunity to view two large canvases from the front and the rear, revealing that both sides were painted. …Read more


Women’s Work Sells and Freud’s Study is Reimagined at Frieze London

If there is one thing that dealers at Frieze London agree on, it's that the fair's 11th outing is defined by business as usual—and more of it.…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 Matthew Brandt book release at the MOCA bookstore; a series of happenings and performances at 3 Days Awake and Artist Curated Projects; a mysterious biographical…Read 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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Brian Ramnarine has been sentenced to 30 months in the federal pen for attempting to sell fraudulent works by Jasper Johns and other artists


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

Chris Martin at Anton Kern
  • Elizabeth Jaeger at Jack Hanley Gallery

  • David Humphrey at Fredericks & Freiser

  • Do Ho Suh at Lehmann Maupin

  • Erica Baum at Bureau

  • John Stezaker at Petzel

The Lookout

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

This week Chris Martin at Anton Kern, Elizabeth Jaeger at Jack Hanley, David Humphrey at Fredericks & Freiser, Do Ho Suh at Lehman Maupin, Erica Baum at Bureau, John Stezaker at Petzel…Read more


Upon entering Boston artist Joe Zane's exhibition at Carroll and Sons, viewers were greeted by their reflections in a small mirror engraved with the show's title question, "Who should a person be?" The question riffs on Sheila Heti's 2012 novel, How Should a Person Be? The plot of Heti's novel includes an "ugly painting competition," in which two characters compete to make the worst painting possible, and ultimately discover the extent to which their artistic identities, for better or worse, are caught up in whatever images they create. Zane explored this theme—the intersection of art and identity—throughout the show, employing his trademark brand of self-deprecating humor in a selection of new sculptures, paintings and mixed-medium works (all 2014).  In the main gallery space was a sculpture of a white owl titled Till Eulen...Read more

For her first solo exhibition in the U.S., Scottish artist Morag Keil presented a meditation on property and authorship in the digital age. Keil treats her shows as visual essays, and this one—titled "Would you eat your friends?"—centered on how networks can facilitate a kind of metaphoric cannibalism, whether it's the art world's historicization of appropriation as a conceptual strategy or the Internet's offering of vast, easily accessible content that can be recycled in endless ways. Keil has previously exhibited videos, audio pieces and elaborate sculptural tableaux, but here she offered mostly paintings and photographs (all works 2014). There was not much visual pleasure to be found, as the uniting aesthetic gesture was that of the purposefully sloppy copy. The photographic works consist of inkjet prints of what look like pixelated screen captures, including one o...Read more

In the mid- to late 1990s, Zhang Dali spray-painted his own profile on the walls of condemned buildings in Beijing, drawing attention to the architectural and human victims of China's campaign to modernize. His recent show at Klein Sun, titled "Square," in reference to the now infamous Tiananmen Square, evinced a conceptual and technical evolution in the artist's fierce commitment to social issues. As a stark reminder of Zhang's previous approach, a cluster of life-size resin figures from his "Chinese Offspring" series (2003-14) dangled in a brick-lined industrial stairwell beyond the second gallery. Each naked, flesh-colored, upside-down body is inscribed (in Chinese and English) with a number, a date, the words "Chinese Offspring" and the artist's signature. In the main gallery were 10 new figural sculptures, each corresponding to an actual individual. Zhang hired migrant work...Read more

According to the U.S. Department of the Interior's National Register of Historic Places, almost every county in the United States has registered at least one locale as a "historic place worthy of preservation." Producing a body of work that often investigated the aesthetic ordinances applied to historic districts, American artists Kate Ericson and Mel Ziegler's collaborative practice lasted for nearly two decades, until Ericson's death in 1995. A recent exhibition at Perrotin comprised a two-floor mini-retrospective of sorts—offering what could be culled from their often temporary, site-specific projects. Alongside such objects as a caravan of toy trucks carrying marble shards and a pile of plywood scraps, the most gallery-friendly works were sculptures featuring the artists' signature sandblasted jars and large-scale drawings that often prefigure or document their public pro...Read more

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