Art In America

Magazine

A Beckoning Angst

Living a luxurious life while depicting physical and spiritual destitution, France's Bernard Buffet was both wildly popular and, in some quarters, critically reviled. A recent exhibition in Paris presented him as a painter of surprising complexity. …Read more

News

The Trauma of Political Engagement: Lynn Hershman Leeson’s Tania Libre

What happens when a performance artist struggling against state censorship goes to therapy? In her new film Tania Libre, Lynn Hershman Leeson lets us eavesdrop on Tania Bruguera's session with Dr. Frank Ochberg, a leading psychiatrist and PTSD expert.…Read more

News

In the Flesh: Mark Bradford in the US Pavilion

Visitors to Mark Bradford's exhibition as the official United States representative to the 2017 Venice Biennale must enter the neoclassical US pavilion using a single side entrance, where they immediately encounter a massive, hulking obstacle suspended fr…Read more

News

Choose Your China: Three Pavilions in Venice

Since 1972, the United States has maintained the “One China” pretense that Taiwan and Hong Kong are not culturally or politically distinct from Mainland China. But no such fiction prevails at the Venice Biennale.…Read more

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The Artist’s Sake: Christine Macel’s Venice Biennale

Christine Macel's primary intention for the fifty-seventh edition of the Venice Biennale, which she has titled "Viva Arte Viva," becomes apparent as soon as you enter the Central Pavilion in the Giardini.  …Read more

Magazine

Performance: Time Out

The enduring legacy of Tehching Hsieh, who will represent Taiwan at the Venice Biennale this year, rests on five grueling yearlong performances that he completed in New York between 1978 and 1986.…Read more

Magazine

From the Archives: Florine Stettheimer—Rococo Subversive

On the occasion of the traveling retrospective, "Florine Stettheimer: Painting Poetry," currently on view at New York's Jewish Museum through September 24, we looked back in our archives for this 1980 essay by historian Linda Nochlin. Stettheimer (1871–19…Read more

Elias Sime at James Cohan
  • “A Surrealist Banquet” at Di Donna

  • Mariah Robertson at 11R

  • Cindy Ji Hye Kim at Helena Anrather

The Lookout

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

This week we've got our eyes on Elias Sime at James Cohan; “A Surrealist Banquet” at Di Donna; Mariah Robertson at 11R; and Cindy Ji Hye Kim at Helena Anrather.…Read more

Reviews

 

Los Angeles-based artist Bella Foster creates dreamy, alluring paintings of real and imagined domestic interiors and still life arrangements. A sense of intimacy with the subjects she portrays and an affection for personal relics pervades the twenty new watercolors in her exhibition at Canada (all 2017), even as the images delve into abstraction and the surreal.

Many of the works have a strange aquatic quality. Foster renders her objects and spaces with rippled edges that make them appear to gently undulate, the technique often complementing incongruous, sealike components of the compositions. In Deck towards end of first night watch, waves crest beneath a newspaper on which a cup sits. In Banana moon, objects seem to float on a blue surface, which darkens toward the back, like a body of water receding toward the horizon. Water might evoke t...Read more

Kishio Suga's exhibition offered a careful choreography of sticks leaning against wood panels, ropes wrapped around rocks, fabric strips twisted around curved metal plates, and concrete blocks sandwiching blades of grass. The interdependency of organic and industrial objects was characteristic of Mono-ha, a movement (whose name means "school of things") that counts Lee Ufan among its most well-known artists and is often compared to Arte Povera for its use of unconventional materials.

Mono-ha artists, emerging amid the civil unrest of postwar Japan and disillusioned with available modes of art-making, turned to placing banal objects, typically quite large in scale, next to, atop, or propped against each other, creating a refreshing new art language endowed with a philosophic aura. These works were often meant to be site-specific and temporary, and many were destroye...Read more

A subtle smell––barely sweet, nearly fungal, vaguely familiar––hung in the air at SculptureCenter. The odor emanated from nine sculptures of folkloric or fantastical human figures made from chocolate by the Cercle d'Art des Travailleurs de Plantation Congolaise (Congolese Plantation Workers Art League, or CATPC), a Lusanga-based collective of workers who cultivate cacao for the global market. Yet authorship here is a complex proposition, for CATPC's existence, and the production and international circulation of the group's art, is the outcome of an ongoing initiative by the Dutch artist Renzo Martens and his Institute for Human Activities (IHA), which he brought to the Democratic Republic of the Congo in 2012. Martens has long engaged with the country and is perhaps best known for his controversial 2009 documentary film, Episode III, Enjoy Poverty, ...Read more

 

To understand the accomplishments of Fluxus and video art pioneer Wolf Vostell (1932-1998), a good place to start is with Concrete Traffic, a 1970 piece in which a 1957 Cadillac is encased in concrete. The artwork, after five years of conservation, has been returned to the University of Chicago, where it will be permanently located near the entrance of a parking garage not far from the Smart Museum of Art. Its restoration spawned three exhibitions across the campus, providing valuable insight into its creation, Vostell's career, and the unruly artistic milieu he helped shape.   

Commissioned by the Museum of Contemporary Art Chicago, the sixteen-ton work was meant to be both performance and street art. (The German-born Vostell's debut Happening took place in Paris in 1958, the same year he became the first artist to integrate telev...Read more

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