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
St. Louis now offers a model for the critical reinvention of the art world as a whole. …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
by Dana Kopel
A benefit for the Indigenous feminist performance group featured an intergenerational roster of musicians, storytellers, actors, and activists, all united by a sense of joy in sharing the work and play of performing. …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
In 2007, Petra Cortright, then a twenty-one-year-old undergraduate student at Parsons, bought a cheap webcam and created her first video work, titled, appropriately, Vvebcam. In the video, which lasts just under two minutes, Cortright sits in front of the camera with a disaffected gaze while a series of kitschy animations—default effects that came with the webcam software—pass across the screen, all set to a pulsing ambient soundtrack. She then uploaded the video to YouTube, appended an absurd litany of SEO-friendly tags, and watched as comments from bewildered viewers streamed in. Cortright quickly became one of the more celebrated members of a diffuse circle of artists and writers—often lumped together today under the contentious heading "post-internet"—who explored the vernacular of internet culture, harnessing the potential of newly lau...Read more
Since the 1990s, Andrea Zittel has endeavored to better comprehend and process the human experience by imposing structure and order on her daily life and lived environment. According to the artist, implementing specific limitations—such as wearing a single outfit for six months (as she did with her Six Month Uniforms, 1991-93) or confining living quarters to small modular spaces (as in her A-Z Comfort Units and A-Z Wagon Stations)—can bring one closer to liberation and lend a sense of purpose. Her works have often centered on the exploration of vertical and horizontal planes, and, more specifically, their intersections. Zittel believes that these intersections—encountered daily at almost every moment, on city streets, at morning coffee counters, in home and work environments—are the vital sites at which life takes place.
Zittel's lates...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