Art In America

Residency Report: Juan William Chávez at Artpace

From the moment I received the email invitation for a preliminary site visit to Artpace, a residency-and-exhibition program in San Antonio, it was game time! I lived and worked there for two months, and it was a day-in, day-out grind to bring all the moving parts of my project together before my exhibition at the end of the residency. It was truly a test of my endurance. ...Read more


Celluloid Phantoms: The Films of José Luis Guerín

To look at an image is to see a ghost. An image is a shadow of a thing that’s no longer there. Few filmmakers understand this as deeply as Catalan filmmaker José Luis Guerín, who is the subject of an almost comprehensive retrospective at Anthology Film Ar…Read more


Parts of Speech: Karel Martens as Scavenger

On a recent tour of one of Donald Judd’s many studios in Marfa, Texas, I noticed a set of twenty or so folders that would normally hang inside a filing cabinet. They were all clearly labeled, but instead of being confined to a metal box, they were spread …Read more


Glacial Pace: The Generative Art of Zach Gage

“When I walk down the street I want my smartphone to be doing searches constantly,” Google CEO Eric Schmidt said in 2010, according to an anecdote in Eli Pariser’s 2011 book The Filter Bubble. “‘Did you know?’ ‘Did you know?’ ‘Did you know?’ ‘Did you know…Read more


Market Research: An Interview with Michael Mandiberg

The 2008 recession drew attention to the destabilization of financial markets by a banking sector that skirts the edges of regulation, using purposely inscrutable financial instruments. In response, a number of artists have attempted to represent the soci…Read more

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From the Archives: What Is Post-Modernism?

Now that the modernist era (1848– 1969?) is over, many of us are camped around the exit of that vertiginous tunnel peering back in and reporting to each other what the passage through—squeezed by the giant muscle of historical inevitability—was like. What…Read more


From the Archives: An Artist & His Aliases

It’s fairly common knowledge that Patrick Ireland, the artist, and Brian O'Doherty, the art critic, are one and the same person. Far less known are the story and the political stance behind this double identity, and the fact that Ireland/O'Doherty has ass…Read more


From the Archives: Decoding O’Doherty

In our December 2007 issue, on the occasion of a traveling retrospective, critic Saul Ostrow parsed O'Doherty's oeuvre, which the artist has produced through five distinct alter egos, most notably Patrick Ireland. Ostrow argues that O’Doherty’s artworks a…Read more


Once upon a time, in the mid-’90s, contemporary art and more academic fine art were still on good terms in Japan. Mono-ha and abstraction were living traditions, allowing artists to wax metaphoric about materials and process without sounding precious. Grand philosophical themes like mankind’s relationship to nature and technology were mused upon expansively. Art was humanist, and without a market or much of an audience. Then came the callow mirth of Superflat, which needed a tsunami and a nuclear meltdown to occur before it could put on a socially concerned face. Only now, after five years of post-disaster anxiety and weariness with the easy “interventionist” art that proliferated after 2011, are people willing to reconsider a romantic like Yamaguchi Keisuke.

The Toyota Municipal Museum of Art must have sensed that visiting Yama...Read more

In a small photograph included in “David Hammons: Five Decades,” the first authorized David Hammons retrospective in twenty-five years, the artist can be seen seated, chin in hand, exhibiting a composure that might lead one to overlook the fact that the elegant chair beneath him is missing its front legs. With his dark shades, crossed legs, and nonchalance toward his apparent balancing act, Hammons is the embodiment of cool contemplation. It was with the same poise that the rest of the work in this long-awaited, artist-conceived exhibition inhabited Mnuchin Gallery, filling two stories of the Upper East Side town house with a subtle menace and a set of social concerns that the neighborhood’s brass-handled doors and iron gates seem designed to keep out. 

Hammons’s works often defy thematic generalizations; however, one of th...Read more

A gaudy pink-plexiglass wheelchair and four photos of a cheeky young woman about to spit out brightly colored Lego bricks currently greet visitors to Verbund’s Vienna headquarters (where, in the publicly accessible foyer, stairwell, and corridors, the Austrian utilities company regularly showcases its art collection). These are among the roughly forty works by the seldom-exhibited artist Renate Bertlmann (b. 1943) that constitute her first major exhibition in her home country. The show, which spans from the early 1970s to the mid-’80s (Bertlmann’s most prolific years), includes installations, films, photographs, drawings, and scores for performances. 

When Bertlmann first started out as an artist, her unique, witty work drew harsh criticism from other feminists for its use of sex toys and (hetero)sexually explicit imagery. She wa...Read more

Type “Los Angeles” into the search box of and you will see over seventy thousand images, many of which look very much the same. For the works in a recent exhibition at Gagosian in Beverly Hills, Alex Israel spent what must have been many grueling hours scouring the database, finally selecting a group of images that distill the clichés underwriting the romantic fantasy that—for some—is Los Angeles. He then UV-printed the photos on large panoramic canvases, with words by Bret Easton Ellis, his collaborator for the show, displayed across them.

The images—of palm fronds casting shadows on pink-painted stucco, for instance, or the seemingly endless, twinkling panorama seen at night from the hills—are the kind that Hollywood exports to the world in movies and commercial advertising. Such images embod...Read more

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