Art In America

Writing and Non-Writing

Singapore-based Heman Chong addresses timeless epistemological questions—what do we know, and how do we know it?—through subtly conceptual, often semi-collaborative, “documentary” works....Read more


Murder on Prince: An Art-World Crime Story

Amanda Oliver, wife of high-tech mogul and art collector Philip Oliver, has been shot dead in the couple’s Prince Street loft. So begins SoHo Sins (Hard Case Crime, 2016), the newly released crime novel by Richard Vine, managing editor of A.i.A.Read more


Do Tough Guys Art?: An Interview with Richard Vine

July 19 marked the release of SoHo Sins, an art world murder mystery by Richard Vine, managing editor of A.i.A. Here, artist and fellow novelist Travis Jeppesen interrogates the author on his motives, the origins of the tale, and the seamy relationship be…Read more


Critical Eye: Personal Boundaries

The traveling exhibition “Art AIDS America,” opening this summer at the Bronx Museum, finds renewed relevance in the culture wars of the 1980s and ’90s, especially the dual political-aesthetic strategies of the era’s most socially committed artists.…Read more


Revisitation Phase: Looking at Art and AIDS

The traveling exhibition “Art AIDS America,” on view at the Bronx Museum of the Arts, coincides with other shows and events that can be seen as augmenting its perspective by giving additional visibility to AIDS-affected individuals and communities that ha…Read more

on Twitter

Follow Us


From the Archives: Diane Arbus: Playing with Conventions

Arbus's stiff-upper-lip pathos is finaly based on the popular naïveté that supposes all "bare facts" are true and all artifices are lies. With the traditional realism of the Jewish mother, she takes our aspirations to be childish fantasies, and tries to s…Read more


Trust Lust

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


From the Archives: William Copley, The Artist as Collector

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

The Keeper at the New Museum
  • “Landmark” at Socrates Sculpture Park

  • “Goulding the Lolly” at Gavin Brown's Enterprise

  • “Fritto Misto” at Clearing

The Lookout

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

This week we've got our eyes on The Keeper at the New Museum; "Landmark" at Socrates Sculpture Park; "Goulding the Lolly" at Gavin Brown's Enterprise; and "Fritto Misto" at Clearing.…Read more


For small galleries, unadorned overhead fluorescent lighting is the industry standard. It’s cheap, efficient, bright, and balanced, creating a relatively neutral viewing environment that allows for clear exhibition photography. The even glow of such lighting has become the hallmark of galleries on New York’s Lower East Side, which, though modest in scale, are able to extend their ambition and influence nationally and internationally via exhibition documentation on the internet. As such, the lights have also come to represent the standardizing influence of image-sharing economies on the international art market. 

For his exhibition of new works (all 2016), “Five Bars of a Deal,” Chadwick Rantanen subtly directed viewers’ attention to this lighting system by inserting two works directly into it. The pieces share the sam...Read more

In “Fufu’s Dreamhouse,” her first New York solo exhibition, Maggie Lee (b. 1987) continued to elaborate her diaristic exploration of adolescent girlhood, Millennial subcultures, and style. Rooted in blogging, honed in zines, and realized in Mommy, her acclaimed 2015 film about the death of her mother and their life together, Lee’s approach here turned to sculpture, the artist presenting a series of dioramas set on wooden tables. Staged mostly within glass terraria and performed through Jenny dolls—a Japanese Barbie corollary established in the 1980s—the scenes depicted are from an adolescence based roughly on Lee’s own. With custom outfits and hair styled by Lee, the Jennys appear alone in their chambers, sedately preoccupied: one plays with a synthesizer on her bed; another models a ...Read more

“Electronic Superhighway” attempted an ambitious undertaking: to chronologically document the history of digital technologies in contemporary art and in so doing point to potential futures for art and technology. The exhibition collated more than a hundred works made by seventy-six international artists since 1966. The chronology was presented in reverse, opening with the most recent pieces and closing with some early examples of artistic experiments with networked technologies.

Nearly half of the works were displayed in the show’s first gallery. The breadth of this selection, which spanned from 2000 to today, was staggering, making for a cluttered display that lacked consistent themes. There was a noticeable divide, however, between works that inhabit digital or, more broadly, networked life and those that actively deconstruct that l...Read more

While viewers of Cao Fei’s excellent survey exhibition will be familiar with myriad products manufactured in China, it’s likely that few will have considered, beyond a vague inkling of anonymous workers toiling away in distant factories, who actually makes those products. For her video Whose Utopia (2006), the Chinese artist embedded herself in an Osram lightbulb factory in the Pearl River Delta city of Foshan. You see impressive, robotic machines cranking out lightbulbs for the global market, and close-ups of workers at their meticulous, excruciatingly repetitive tasks. Cao befriended some of these mostly young workers, learning of their lives and of their hidden talents and passions. Everything changes with the video’s second part: “Factory Fairytale.” One worker suddenly appears as a costumed ...Read more

Current issue


Submit your e-mail to receive insider information from the art world every week.