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
All in all, while the Louvre Abu Dhabi can seem in places like an art-historical CliffsNotes, the ambition to reshuffle the deck and the fabulous objects thus brought together make the museum a game-changer.…Read more
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
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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
In curating "Our Side," Wendy Red Star asked four Indigenous women artists to share stories about themselves and their people.…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
The January-February 1968 issue of A.i.A. includes an expansive three-part feature about technology’s impact on art. All of the sections were authored by Douglas Davis (1933–2014), who explored the relationship between creativity and new media in his groundbreaking work as both an artist and critic. …Read more