In remembrance of the Stonewall Riots that took place on June 26, 1969, catalyzing the modern LGBTQ movement, Holland Cotter spoke to twelve queer artists for our June 1994 issue. "As a direct result of Stonewall, sexual difference has become an area of open inquiry and exploration in contemporary art," Cotter explained, "whereas a mere generation ago this content was either suppressed or introduced in highly coded form."...Read more
“How many slaves did it take to make that?” It was a Wednesday afternoon in early May, and K8 Hardy and I had just entered “Manus x Machina: Fashion in an Age of Technology” at the Metropolitan Museum of Art in New York (on view through Aug. 14).…Read more
In remembrance of the Stonewall Riots that took place on June 26, 1969, catalyzing the modern LGBTQ movement, Holland Cotter spoke to twelve queer artists for our June 1994 issue.…Read more
by Rahel Aima
“But a Storm Is Blowing from Paradise” at the Solomon R. Guggenheim Museum in New York is a worthwhile, if regrettably diverse show. Curated by Sara Raza, the third and final iteration of the Guggenheim’s UBS MAP Global Art Initiative—an effort to incorpo…Read more
Eyeo is a three-day art and technology conference that has taken place annually in Minneapolis since 2011. With a roster of speakers from diverse backgrounds—art, coding, academia, the private sector, or a mix of the above—it’s fitting that the event is h…Read more
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From the Lookout, Tom Sachs at @NoguchiMuseum through July 24: https://t.co/1eDqKRBDNE https://t.co/aHgzG0nOSt
Art collector and self-taught painter William N. Copley translated his love of Surrealism into bright, cartoonish canvases devoted to everyday objects and scenes of good-natured raunch.…Read more
Painter William Copley believes that artists’ collections are the most interesting: “Artists collect with a precise inspirational purpose, more fetishistically but with a greater sense of unity than other men, never for status symbol or to impress others.…Read more
Stuart Davis was one of the first to embody the dynamism of twentieth-century America in the forms of modern art. Out of American actualities he created an artistic language that spoke in both native and international accents, yet was completely his own.…Read more
The black-and-white generic product packaging seen in Maryam Jafri’s recent exhibition “Economy Corner” points toward timely issues: income disparity, the commercialism of culture, and the roles of language in art. Jafri, a Pakistani-American artist who has shown mostly in Europe (including at the 2015 Venice Biennale), presented food and sundries from the “generic” sections of 1970s American supermarkets. (She purchased the vintage items secondhand.) Two white cans emblazoned with the word “beer” in blocky black capitals—the fonts varying slightly—announced themselves to passersby from a vitrine in the gallery’s front window, establishing an energizing conundrum. Was “Economy Corner” an odd bodega, an ethnographic investigation, a design expo, or an art show?
The Venezuelan artist Oswaldo Vigas (1923–2014) is a particular case. He spent much of his career taking on established modernist styles well after their moments had passed or as they were being eclipsed, and in that way comes across as a curious, perhaps even stubborn, kind of individual: both a follower and not exactly a follower, both an autodidact eagerly engaging with prior innovation and a strict recusant of current fashion. His practice in retrospect can seem almost manic, given that he produced somewhere between five thousand and eight thousand paintings (not to mention drawings, murals, prints, ceramics, tapestries, sculptures, jewelry . . . ) and that this significant effort saw him grappling with such divergent propositions as Cubism, Surrealism, Constructivism, Informalism, and Abstract Expressionism, as well as a number of aesthetic projects associated...Read more
New York–based Canadian artist Elaine Cameron-Weir creates sculptures that combine peculiar natural elements—e.g., mica, frankincense, and clamshells—with industrially made objects to evoke rich cultural histories and myths. In her recent show “snake with sexual interest in its own tail,” eleven works (all 2016) sprawled sparsely across Venus’s fourteen-thousand-square-foot Los Angeles warehouse space, taking the viewer on an odyssey of taciturn storytelling, longing, and desire. Almost all the pieces had formal counterparts also on view, recalling one of the origin-of-love tales told in Plato’s Symposium: Aristophanes, soon to be bested in the contest by Socrates, claims that Zeus split our four-legged ancestors in two, dooming each human soul to a lifetime of searching for its other half.
At th...Read more
Although William Wegman made his reputation as a photographer who combined wry humor and conceptualism, his two recent exhibitions showed him to be an accomplished painter with a sophisticated, highly individual style. The concurrent presentations at Sperone Westwater and Magenta Plains focused on, respectively, his recent “postcard paintings” and his early works on paper. Wegman made his first paintings based on postcards in the early 1990s, and his method has remained consistent ever since: he selects postcards from a large collection he keeps in his studio, glues them on top of wood panels, and fills in the empty spaces around the images with painted marks, shapes, and figures. Despite this narrowly defined set of procedures, the resulting paintings differ greatly from one another in composition and mood.
Among the biggest of the p...Read more