A belief in physiognomy as essence, complex and tinged with nostalgia, permeates the short experimental films of avant-garde Dutch artist Barbara Meter. This Sunday, the Museum of the Moving Image in Queens presents a screening of the relatively forgotten filmmaker’s work, organized by guest curator Mónica Savirón....Read more
Chris Burden liked to walk around with the barrel of a loaded Uzi tucked between his butt cheeks. He proudly describes this habit in a 1981 performance clip included in Burden, a new biopic on the artist most famous for risky body performances that change…Read more
by Craig Hubert
Theo Anthony's visionary documentary, Rat Film (2016), opens the Art of the Real Festival at the Film Society of Lincoln Center on April 20. The film traces allegorical connections between Baltimore's rats and the city's deeply segregated neighborhoods.…Read more
The exhibition "WHY PICTURES NOW," a survey of Louise Lawler's work from the 1970s to the present, opens at the Museum of Modern Art in New York this week. We looked in our archives and found "In and Out of Place," an article that artist Andrea Fraser wro…Read more
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The Korean-born, New York–based artist recounts how her penchant for the immersive experiences of film, cuisine, and fiction led her to experiment with outré scents and odd installation materials such as bacteria, fried flowers, spores, hair gel, and fung…Read more
by Wendy Vogel
In Anicka Yi's solo exhibition at the Kitchen in Chelsea, the laboratory functions as high theater, complete with a pungent stench. Yi is not alone in her olfactory preoccupations.…Read more
The Scottish artist Douglas Gordon is drawn to iconic figures. With 24 Hour Psycho (1993), for instance, he paid homage to Hitchcock, radically slowing down the director’s 1960 film. For Zidane: A 21st Century Portait (2005–06), which he made in collaboration with Philippe Parreno and which exists as both a film and a two-screen installation, he captured the soccer star Zinédine Zidane from multiple perspectives for the duration of a game. Gordon’s recent exhibition at Eva Presenhuber consisted of a video installation titled I Had Nowhere to Go that took Jonas Mekas, the ninety-four-year-old grandee of New York’s experimental cinema, as its subject. Gordon concentrated on Mekas’s diaries from 1944, the year he left his native Lithuania to escape Nazi persecution, to 1954, by which time he had settled in Brookl...Read more
The sculptor Not Vital has traveled widely and exhibited often since the early 1970s, living a peripatetic life that nurtures his art-making. But he remains rooted in the Engadine region of his native Switzerland, where he opened a foundation in 2003, built a sculpture park, and in 2016 purchased the twelfth-century Tarasp Castle, which will evolve into a cultural center. Over the past fifteen years Vital has merged architecture and sculpture; for one ongoing project, he is constructing a House to Watch the Sunset on each continent, following the same design but using local materials. The striking design (first realized in adobe in Niger in 2005) consists of a four-story tower buttressed by three wide staircases that each lead to a different floor.
Vital has had a studio in Beijing since 2008, and most of the twenty-five sculptures in his exhibition ...Read more
The title of one of Andrea Joyce Heimer’s paintings is so long that Hometown had to bunch some of the words together on the checklist, deleting the spaces between them. Frequently exceeding twenty words and comprising one or more complete sentences, the titles of the works in this exhibition—her first solo show in New York—express sources of the artist’s broad-ranging envy. Provocative, stylized phrasings like I Am Jealous of Everyone You Have Ever Been with and There Have Been Many, and Then I Find Out Some of Them Were Squirters and I Am Undone by This Knowledge. It Weighs on Me like a Stone underscore a fascination with storytelling that pervades the paintings. In colorful, intricately detailed scenes derived from her own biography—and rendered in acrylic and pencil on panel—the Washington State–based painter (b. 1981) ...Read more
Lili Reynaud-Dewar’s exhibition “Teeth, Gums, Machines, Future, Society,” comprising a video and a sculpture installation, focused on the grill, a decorative metal plate over the front teeth, pluralized as “grillz” or “fronts”—American rap culture’s version of a tradition of dental adornment stretching back at least two-and-a-half millennia and spanning societies as disparate as the Maya, Etruscan, and Viking.
In the half-hour-long, quasi-documentary video that was the exhibition’s lodestar, the talking heads of Reynaud-Dewar’s interviewees are often shown in close-up. Their mouthy half-faces speak through grillz with which the artist had them fitted, each uneasily flashing their finery. The setting is Memphis, Tennessee, where, during a residency, Reynaud-Dewar began connecting the materialist...Read more