Since the 1970s, Mullican has been constructing an individual language to investigate modes of representation and communication. An exhibition at Peter Freeman, Inc. and two recent performances at The Kitchen rehashed many of the tropes and games that have defined his career....Read more
by Sam Korman
Intensely collaborative, Fia Backstrom's writings, installations, and performances originate from her social context. By adopting personas from an amateur to a bureaucrat, she fluidly challenges prevailing institutional power dynamics within communities o…Read more
by Nick Faust
Last Wednesday's ACT UP meeting was gloomy. Members of the AIDS-awareness activist group had been preparing strategies for actions under a Clinton administration. Amid the confusion, anger, and fear, the longtime members-the ones who joined in 1987, march…Read more
British-born artist Martyn Reed’s annual NuArt Festival has made street art a dominant force in Norway’s fourth-largest city.…Read more
by Suzi Gablik
In a world where everything is pregnant with its contrary it is hardly surprising to find deep ambivalence within the artistic community on the subject of graffiti art. So far, graffiti has managed to thrive on controversy, making a name for itself on ins…Read more
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by Gean Moreno
What should citizens—especially art professionals—do in response to rising sea levels and other ecological threats in socially fragmented Miami?…Read more
by Carol Becker
Dutch designer Daan Roosegaarde's energy-conscious projects—a bike path, condensed-smog jewelry, an outdoor air cleaner, an illuminated dance floor and various large-scale urban light projections—posit a cleaner, saner, more efficient tomorrow.…Read more
Speaking with a Los Angeles Times reporter in 1989, Lynda Benglis expressed her disdain for a Puritan strain of society that, as she put it, “gets nervous if things are too pleasurable, too beautiful, or too open.” Feminist art’s most significant legacy, for her, was a liberation from such circumscribed notions of taste. Her show of new sculptures at Cheim & Read proved that Benglis is still able to run with that freedom, as she has for the past half-century. Many of the works consist of cocoonlike chicken-wire armatures wrapped in paper painted in bold, glittering Mardi Gras hues or, with just a few streaks of ground-coal paint, barely at all. Hung high and low across the gallery walls, these pieces appeared like so many butterflies about to take flight.
Driven by a feminist critique of historical continuity, B...Read more
A long brass pipe extends through a window in a second-floor gallery of the Ciccillo Matarazzo Pavilion into the park outside, where it widens into a large flared bell. The giant ear trumpet is trained on the leafy top of a palm. Created by Argentinian artist Eduardo Navarro, Sound Mirror (2016) asks gallery visitors to listen to the tree. I perched on a stool and cocked my head toward the earpiece, which delivered a faint rumble. Was it the stirring of sap in the trunk? The crawling of bugs? Occasionally I’d hear something like the murmur of a distant conversation, as if Navarro’s instrument were picking up the tinny back-and-forth of security guards on their walkie-talkies.
Curated by Jochen Volz with Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen, and Sofia Olascoaga, the thirty-second edition of the São Paulo Biena...Read more
This past summer, the cult television show “The Joy of Painting” (1983–94) became available on Netflix, reigniting interest in host and painter Bob Ross, whose soothing voice and iconic Afro accompanied an endearing habit of sprinkling life affirmations and adages into lessons on how to imitate his landscape paintings. Two decades since his death, the spotlight is on Ross again—not only because of the show’s revival but also because of the recent announcement in news outlets like New York Magazine, NPR, and the Los Angeles Times that his distinctive hairstyle was a perm.
British artist Neil Raitt (b. 1986) has been a fan of Ross since he was ten years old. In a recent conversation, he told me that he used to pretend to be sick so that he could stay home and watch the show on publ...Read more
The assemblage paintings and sculptural objects of Ronald Lockett (1965–1998) often depict animals or figures, constructed of found tin and wood, nails, paint, and sealing compound. With titles like Civil Rights Marchers, Hiroshima, Verge of Extinction, and Dream of Nuclear Destruction, the works often address social and environmental themes, and many convey palpable emotion. “Fever Within: The Art of Ronald Lockett,” the first museum survey devoted to the artist, debuted at the American Folk Art Museum (AFAM) but was organized by the University of North Carolina at Chapel Hill’s Ackland Art Museum (where it opens in late January) and curated by professor Bernard L. Herman. It features fifty of the approximately four hundred works Lockett made in his ten-year career, which was cut short by hi...Read more