A.i.A. editors suggest a few of the myriad events taking place in New York this week: a performance by Sadaf H. Nava and Joseph Heffernan; a screening and discussion of mumblecore classic Mutual Appreciation with director Andrew Bujalski; workshops and panel discussions presented by NEW INC and cyberfeminist research collective Deep Lab; a talk on Frida Kahlo by biographer Dr. Salomon Grimberg, MD; and events presented by Artists Space themed around gender, intimacy, and neoliberal personalities....Read more
Painter and art historian Jonathan Weinberg remembers the crumbling Hudson River piers of the 1970s and '80s, a zone of gay cruising and maverick art projects, predating today's gentrification and new Whitney.…Read more
One of the features spotlighting the Whitney Museum's new site in A.i.A.'s May issue is "Cruising the Waterfront," in which artist and writer Jonathan Weinberg considers the history of art and activism in the Meatpacking District in the 1970s and '80s a…Read more
by Jamilee Lacy
When an average teenager gets braces on her teeth, she is given a dental hygiene toolkit to complement the typical toothbrush-and-floss combo. In Eva Koťátková's exhibition at MIT List Visual Arts Center, the dental apparatuses become torture devices de…Read more
A.i.A. editors suggest a few of the myriad events taking place this week in L.A.: Jonas Wood's book launch at Family; Irene Lusztig's film The Motherhood Archives at the Armory Center for the Arts; an evening with Anthony Lepore at the Bikini Factory; …Read more
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A.i.A. editors suggest a few of the myriad events taking place in New York this week: a conversation with three video artists led by curator Barbara London; a talk about experimental exhibition spaces with artists Marie Karlberg and Lena Henke; a scree…Read more
by David Ebony
Pierre Huyghe frequently incorporates living things like plants and insects into his sculptures and installations. His latest work, at the Metropolitan Museum, recalls at once a natural history museum display, an archeological excavation and an Earth ar…Read more
Three specialists weigh the pros and cons of the first installment of the Whitney Museum’s controversial two-part blockbuster, "The American Century: Art & Culture 1900-2000." …Read more
Tony Oursler has long offered moving-image installations that separate video from the flat screen to map projections onto sculptural forms. A new suite of work, produced for his exhibition “template/variant/friend/stranger,” complicates Oursler’s investigation of the immersive video environment by addressing some of the aesthetic repercussions of facial-recognition technology. He has moved from phantasmagoria to physiognomy. Four parallel studies occupied the gallery’s two floors: freestanding and wall-mounted sculptures were shown at street level, and a video projection alongside framed drawings in the basement (all works 2014). The works were united by a concern with how the face is constructed by technologies of surveillance, and how those in turn are rooted in histories of art.
Oursler has researched eigenfaces (the vector ma...Read more
The cover boys on Tom of Finland catalogues solicited visitors from outside the exhibition “Early Work 1944-1972,” offering something of a false promise. From these catalogues, Tom’s 1980s illustrations cruise in all of their pictorial glory—fully realized fantasy Adonises confronting the viewer with the eventual telos of the artist’s physique renderings: chiseled studs in leather biker caps, with groins swelling in denim baskets and buoyant bottoms bouncing.
The show’s 15 early works on paper—most exhibited for the first time—serve as a profoundly dynamic historiography of postwar gay sensibilities. Their preening, posing figures reflect 30 very important years of gay life, spanning from the underground lifestyle of the 1940s to the countercultural gay liberation movement that Tom’s musclemen most often represent....Read more
Physical might converges with formal presence and technical prowess in Jackel’s elegant, richly complicated work. A giant pair of brass knuckles greeted visitors just outside the entrance to “American Imperium,” which was, indeed, about power, but not only brute force. The brass knuckles are actually made of bronze, bearing a handsome, matte-black patina, and they span nearly six feet across. Exaggerating the scale of the weapon and altering its material, Jackel sidelines function in deference to distilled, commanding form. The four finger-holes present as huge, perversely cheery loops and, as in many of Jackel’s works, a sly anthropomorphism also comes into play: the piece (based on a pair of World War II-era brass knuckles) can read as a goofily smiling face.
Initially provoked by both the Iraq War and Hurricane Katrina, Jackel has f...Read more
The soaps in the Gagosian bathroom come compliments of Agraria. On each bottle, a Victorian wreath surrounds the brand name like a cameo. The smell, a mélange of orange and hotels, reeks of Old World, old people. “The ultimate for those who live and gift luxuriously,” the company advertises. (The set retails for a modest $48.)
John Currin’s latest oil paintings, which basked in the gallery’s 20,000 square feet, chime eerily with Agraria’s aesthetic nostalgia for the lifestyles of the landed gentry. You have to congratulate Currin on his mastery of old-master technique. Gauzy pink fabrics, welcome amounts of flesh you could bite, the just-right crevice of the angled palm, freaky gazes from disconjugate eyes, bodily orbs you could really wrap a hand around—all are executed with confidently little paint, slight enough to pres...Read more