Art In America

A Letter to Stephen Shore

You look at a curb, a bag, a bed, a plate and cutlery, and, in time, they become what they've always been, or what they always might have been if anyone had looked before: a horizon, a vanishing point, a frame....Read more


From the Archives: Michelangelo’s Last Judgment as Merciful Heresy

On no account must the suspicion arise that the fresco, culpable in so many details, might be heterodox in essentials. Michelangelo's well-wishing friends, who saw in the Last Judgment the ultimate triumph of art, must bend every effort to ward off suspic…Read more


Neighborhood Women: Mimi Gross and Jackie Ferrara in Conversation

Both artists lived and worked downtown in a fertile time but steered clear of art-world trends, carving out their own distinctive paths in the fringes.…Read more


Low-Risk Aesthetics: Institutional Critique at MOCA Cleveland

Certainly the openness of potential interpretation is one of art’s great pleasures and social functions, but I confess to a degree of weariness around the act of raising questions without offering answers. Read more


From the Archives: Telling Stories

What I am proposing, then, is that Baldessari’s art can never be accounted for in terms of determinate meanings, but only as a set of specific esthetic strategies. …Read more

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Fluid Frames: The Hybrid Art of Michael Nicoll Yahgulanaas

Using his signature Haida manga style, a fusion of Indigenous visual traditions from the Pacific Northwest and the graphic format of Japanese comics, Yahgulanaas translates oral history into a fluid, nonlinear reading experience. Read more


Story Trader: An Interview with Wendy Red Star

In curating "Our Side," Wendy Red Star asked four Indigenous women artists to share stories about themselves and their people.…Read more


Guided By Justice

Rigo 23’s work about activist communities is produced through collaborative processes inspired by the communities themselves.…Read more


Known for his quiet abstractions, Washington-based painter Denzil Hurley titled this exhibition "Disclosures," showing eleven recent mixed-medium paintings and five small ink studies. Almost all the works are monochrome, and many are mounted on sticks or poles, like signs carried at rallies. In their makeshift quality—the sticks are repurposed mop or broom handles or pipes—they evoke impromptu street actions rather than convention-hall campaign events. ZB4, Four Square (S), 2013-15, consists of four black paintings of various sizes suspended from a twelve-foot, horizontal copper rod, as if to be carried by marchers advancing side by side. ZD5, Coupled Glyph #4 (2016-17), unique in the exhibition for its upbeat color, might be a jerry-built directional sign, with two small orange-painted canvases abutting at the top of a stick,...Read more

"Lucid Dreams and Distant Visions: South Asian Art in the Diaspora" was the first exhibition since the Queens Museum's "Fatal Love: South Asian American Art Now" (2005) to focus on works by United States-based artists with origins in the various countries of South Asia. Organized by artist and curator Jaishri Abichandani, Smithsonian Asian Pacific American Center curator Lawrence-Minh Davis, and Asia Society Museum director Boon Hui Tan, the show included works by nineteen artists, most of whom are based in New York and were born in the 1960s or '70s. "Lucid Dreams" was hardly comprehensive, but it was not intended to be. Its strength was in representing a selection of artists who put forth an array of materials and aesthetic practices.

Pakistani-born and Brooklyn-based Khalil Chishtee's wall-mounted cut-metal scene History is a nightmare from which I am t...Read more

A tone of whimsy, eccentricity, and pop irony permeated “The Potential of Women," a colorful and engaging exhibition of recent work by Polly Apfelbaum. The New York-based artist is well known for elaborate installations featuring small pieces of hand-dyed and cut fabric that she typically arranges on the floor in complex, abstract designs radiating out from the gallery walls, corners, or support columns. Textiles remain central to her most recent endeavors, but ceramics and paintings on paper have also become prominent features.  

"The Potential of Women" was inspired by an image of an abstracted female head created in 1963 by the American modernist graphic designer Rudolph de Harak (1924-2002). The hard-edge, logo-like motif consists of an oblong head with two black dots for eyes and a helmetlike black hairdo. The original design was used on t...Read more

An ambitious collaborative project filling three floors of the Fondazione Prada in the eighteenth-century Palazzo Ca' Corner della Regina on the Grand Canal, "The Boat is Leaking. The Captain Lied" weaves the work of German artists Thomas Demand, Alexander Kluge, and Anna Viebrock into a single immersive experience. On view in a series of interconnected spaces designed to evoke either nautical settings or a low-rent hostel, video projections and photographs suggest anxious meditations on memory, aging, and looming catastrophe. The show's title, a lyric borrowed from Leonard Cohen's "Everybody Knows," suggests the ominous tone pervading the exhibition. 

Curator Udo Kittleman, who organized the project, describes the show in the catalogue as a "transmedia" experiment, as it merges the work of artists from three distinct creative fields. Demand's large-scale phot...Read more

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