Art In America

Walking the Armory with Christopher Y. Lew

At the VIP reception of this year's Armory Show fair (Mar. 5-8), I met up with Christopher Y. Lew, the Whitney Museum of American Art's recently appointed associate curator, who was already stalking the aisles. Lew, who is in his early 30s, came to the museum this August from MoMA PS1, where he had spent eight years rising through the curatorial ranks....Read more


Women Rule at the ADAA Fair

The Art Show has worked hard to retain its identity as the classiest of the big New York fairs, offering a balance of blue-chip works with historical resonance and edgier contemporary pieces showcased in carefully curated booths. This year's installmen…Read more


The Agenda: This Week in New York

A.i.A. editors suggest a few of the myriad events taking place in New York this week: a Wim Wenders film at MoMA; Rachel Mason’s multimedia rock opera; a feminist Wikipedia editing marathon; Princess Nokia and Tavi Gevinson at Brooklyn Museum’s Target Fir…Read more


Whose Name Was Writ in Water

Robert Gober's recent retrospective at New York's Museum of Modern Art prompts expansive reflections on the legacy of the readymade, the nature of obscenity and the poetics of plumbing.     …Read more


Pussy Riot Realness

The Russian guerrilla performance group brings its message of radical feminism to U.S. television.    …Read more

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AiA walks the @thearmoryshow with @whitneymuseum associate curator Christopher Y. Lew!


The Agenda: This Week in Los Angeles

A.i.A. editors suggest a few of the myriad events taking place this week in Los Angeles: a screening of two Tijuana-based films at Human Resources; The Reader's Chorus at Velaslavasay Panorama; a Llyn Foulkes documentary screening at LACMA; and a Harun…Read more


Five Points With Boris Groys

The exhibition title “Specters of Communism: Contemporary Russian Art” suggests an angst-ridden premise. But in the hands of curator Boris Groys the proposition turns ambiguous. …Read more


The Agenda: This Week in New York

A.i.A. editors suggest a few of the myriad events taking place in New York this weekend: a screening of Larry Clark’s latest flick at Lincoln Center; a NYPAC-hosted performance by Cecilia Corrigan at the Duplex; Henry Chalfant’s Flyin’ Cut Sleeves at the …Read more

New Museum Triennial at New Museum
  • Lynn Hershman Leeson at Bridget Donahue

  • “The Left Front: Radical Art in the ‘Red Decade,’ 1929-1940” at Grey Art Gallery, NYU

  • Brad Troemel at Zach Feuer

  • Julia Dault at Marianne Boesky

The Lookout

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

This week We've got our eye on the New Museum Triennial, Lynn Hershman Leeson at Bridget Donahue, radical art in "The Left Front" at NYU's Grey Art Gallery, Brad Troemel at Zach Feuer, and Julia Dault at Marianne Boesky.…Read more


American artist Ken Okiishi’s second solo show at Mathew, “Eggleston und Andere, ‘reality bites,’ made numerous art historical references while at the same time attempting to free itself from them. The main body of work consisted of 12 small color photographs, all titled William Eggleston on Pallasstrasse (2007/2014), which depict various scenes devoid of people along a single street in the former West Berlin, passing through a bustling commercial area that has ossified since unification.

“FYI,” Okiishi remarked in the press release, “these photographs were taken in the summer of 2007; sat on various hard drives since then; and were printed, as a group, for the first time last month.” He spells out this procedure because most of the images might otherwise be impossible to...Read more

We are used to language being employed to describe art objects, and, at least since the 1960s, we are used to language becoming an art object. In both cases the words are paramount because they are what remain: a thing (a word printed or cast in neon) realizing an abstraction, or, in the case of art criticism, a text standing for an experience of an exhibition. The Turkish artist Meriç Algün Ringborg reverses this emphasis, and the effect is vertiginous. Her exhibition “A Work of Fiction (Revisited),” 2013-14, actualizes the example sentences that dictionary editors provide to demonstrate word usage. These are therefore generically impersonal, as free from a specific referent as language gets. 

With the perverse assiduousness of an author of the Oulipo school, Algün Ringborg has assembled a 24-page melodrama out of onl...Read more

A hyperlink is a “reference to external data that a reader can open either by clicking or by hovering over a point of origin,” to quote the first entry in the press release-cum-glossary for Cécile B. Evans’s solo exhibition “Hyperlinks, which itself quotes Wikipedia without attribution. Hyperlinks are the operating logic of the World Wide Web, as was evident in its early years, when homepages would often include a list of links to other interesting sites. Innovations such as Google’s PageRank algorithm and the hashtag evolved from this technology as metadata became more profitable than singular connections.

Opposite the entrance of the gallery was a looped 22-minute video, Hyperlinks or it didn’t happen (all works 2014), which questions the identity of the mediated subject. “PHIL...Read more

An accounting of the visible world and the invisible world: this is one definition of art offered by Richard Tuttle. With two major presentations of the American artist’s work in London—a career-spanning survey at Whitechapel Gallery and a massive wood-and-textile-based sculpture filling Tate Modern’s Turbine Hall (through Apr. 6)—these words perhaps provide a key to accessing the depth of Tuttle’s oeuvre, one that ranges from arresting and voluminous (as at the Tate) to so slight in appearance that the objects can barely be perceived at all (as with several examples at Whitechapel). Tuttle’s objects, be they flat or three-dimensional, are allusive devices in an open machinery of poetics. The significant inclusion of the artist’s own poetic texts, which accompanied each of the exhibited objects at Whitechapel, further ex...Read more

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