Henry Taylor's painting has often been discussed in the context of outsider art not only because of his vivid and somewhat reductive figuration, but because of his biography: the youngest of eight children raised by a single mother in Oxnard, California, he held several jobs unrelated to art, including a ten-year stint as a technician at a psychiatric hospital, and didn't earn his BFA until he was in his mid-thirties. ...Read more
by Lucy Lippard
An art critic looks back on the hard-won achievements of feminist art and the current state of its legacy. …Read more
Treating dance as a species of witchcraft, LA choreographer Nina McNeely brings New Age symbols, culturally diverse music, and staccato movement to her live performances and big-name music videos. …Read more
by Jamie Crewe
Glasgow-based artist Jamie Crewe is the subject of the "First Look" column in our March issue. As Philomena Epps writes, Crewe's works "convey a fluid sense of cultural ancestry-one at odds with the established canon, which is heavily skewed toward binary…Read more
In honor of Women's History Month, we looked back in our archives for this article by David Joselit from our January 1997 issue, in which Joselit appraises two exhibitions that approached the question of gender in different ways. …Read more
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by Erick Lyle
A blend of utopian aspiration and excavated indigenous tradition animates Fran Ilich's timely project, Aridoamérica Winter Plan, an intriguing social experiment that takes the form of a free coffee shop.…Read more
Working with molecular structures, LA-based artist-entrepreneur Sean Raspet makes artworks in the form of food substitutes and artificial flavorings, thereby challenging conventional cuisine and its socioeconomic system. …Read more
by Wendy Vogel
In Anicka Yi's solo exhibition at the Kitchen in Chelsea, the laboratory functions as high theater, complete with a pungent stench. Yi is not alone in her olfactory preoccupations.…Read more
Just inside the Palais de Tokyo a young man, wearing a T-shirt, jeans, and sneakers, approached me, kept me in place by dancing in my path, and asked—first in French and then in English—“What is a riddle?” At once confused, delighted, and frustrated, I stammered, “What do you think?” as I realized I had become part of a piece (Enigme, 2016) choreographed by Britain-born, Berlin-based Tino Sehgal, an artist known for his refusal to produce art objects or provide information about his work (eschewing wall texts, brochures, catalogues, and photographs).
Given that his “constructed situations,” as he calls them, jibe with museum trends that call for interactive objects and live performance, Sehgal’s institutional success is perhaps not surprising. In 2010 he was the youngest artist to be offered a solo show...Read more
In his 2015 collage The Humorlessness of Historians Spawns Further Monsters . . . , German artist Werner Büttner frames a bust of Janus, the Roman god of beginnings and endings, within an inky black void; the god’s two faces look forward and backward in time as what looks like an explosion of stars showers upon him. Büttner’s exhibition of seventeen paintings and fifty-five collages (all but one work 2015 or 2016) was overflowing with allusions, symbols, and enigmatic juxtapositions—like Magritte, Büttner is a capable painter whose work poses challenges less painterly than syntactic—and while viewing this modestly scaled composition I apprehended a unifying framework for the many words and pictures in dialogue around me.
The collage brought to mind Herodotus—one of history’s least reliable historians, but ...Read more
Jiro Takamatsu (1936–1998) was about as seminal as seminal gets in postwar Japanese art. He was one-third of the Tokyo-based Happenings group Hi Red Center, a progenitor of Japanese conceptual art, and a significant influence on Mono-ha artists. As a maker of paintings, sculptures, experimental writing and xerographic pieces, and conceptual photographs, Takamatsu embodied the catholic cross-mediality of the 1960s and ’70s like few others. And as his mini-retrospective at Fergus McCaffrey suggested, he was also something of a prop and set designer for intellectualized play and theatricality in the white cube.
There were four vertical wood sculptures (all titled The Pole of Wave and dated 1969) that undulate when viewed from one angle and appear straight from another. There was a small blue cube with red perspective lines painted on it that give ...Read more
This exhibition of works that Rosemary Mayer made between 1969 and 1973—a period during which she and nineteen other women artists founded the cooperative A.I.R. Gallery, and a broadly fertile time for the New York art scene of which she was a part—demonstrated how she gracefully negotiated between Conceptualism and gauzy materiality, between structure and the ephemeral. It showed the artist, who died in 2014, experimenting in a handful of mediums, starting with text pieces and drawings and building up to arresting fabric-and-wood sculptures.
The presentation began with displays of paper-based work, including editions from 1967 and ’68 of 0 to 9, a mimeograph-printed magazine edited by Mayer’s then-husband, Vito Acconci, and her sister, Bernadette Mayer, to which she contributed formally spare drawings. Also shown h...Read more