Art In America

From the Archives: In and Out of Place

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 wrote in 1985, while a student in the Whitney Independent Study Program. Fraser, who subsequently became known for her own contributions to institutional critique, discusses the challenges to received notions about the display and circulation of art posed by Lawler's photographs, installations, and curatorial activities....Read more

Magazine

In the Studio: Anicka Yi

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

News

What’s that Smell in the Kitchen? Art’s Olfactory Turn

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

News

The Map Trap: Theo Anthony’s Baltimore Documentary

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

News

(Un)Controlled Violence: A Chris Burden Documentary

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

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Radical Images: The Visual Language of Protest

Two exhibitions in New York are presenting the cultural and documentary history of protests, riots, and revolution that took place over the last forty years, from the election of Richard Nixon to the end of the century.Read more

News

Future Perfect: Flux Factory’s Intersectional Approach to Technology

In post-apocalyptic literature and cinema, cyborgs are something to be feared, a dystopian mess of wires masquerading as human. But the truth may be stranger than fiction, if also more optimistic. "We Have Always Lived in the Future," a group show at Flux…Read more

News

We Exist: Victoria Lomasko’s Graphic Journalism

Over the past eight years, Russian artist Victoria Lomasko has captured, in sketches and portraits, the people and movements at the periphery of her country's political life. …Read more

William Cordova at Sikkema Jenkins
  • Aki Sasamoto at The Kitchen

  • “Formal Complaint” at the Knockdown Center

  • Siebren Versteeg at bitforms gallery

The Lookout

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

This week we've got our eyes on William Cordova at Sikkema Jenkins; Aki Sasamoto at The Kitchen; “Formal Complaint” at the Knockdown Center; and Siebren Versteeg at Bitforms.…Read more

Reviews

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

Just in time for the inauguration of the forty-fifth president of the United States and the announcement from The Bulletin of the Atomic Scientists that the Doomsday Clock had been moved forward from three minutes to midnight to two and a half, P! staged a version of the apocalyptic nightmares many have been having of late. “The Stand,” curated by P! director Prem Krishnamurthy and artist-curator Anthony Marcellini, drew inspiration from Stephen King’s novel of the same title—a sprawling epic in which good and evil duke it out in the aftermath of a global epidemic. Featuring the work of twenty-five artists crammed into the mini storefront gallery, the exhibition was bewildering, cacophonous, and surprisingly odorous thanks to a curatorial decision to spread rubber mulch across the floor, dividing it diagonally into a blue section and a blac...Read more

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