On the morning of June 10, as part of the group show "Paratextual" at Samuel Freeman Gallery in Los Angeles (May 13–June 17), the LA-based artist David Horvitz led an off-site excursion to a public beach in Rancho Palos Verdes....Read more
A group of eager Pratt grads, a biweekly crit, and a Risograph printer in the living room—this was the recipe for Packet Biweekly, a humble booklet of fresh art and writing that was published every two weeks since 2012.…Read more
by Gregory Volk
Skulptur Projekte Münster has changed quite radically since its initial incarnation. It's much more eclectic, encompassing sculpture but also performance, sound art, video, and other mediums. Yet it remains focused on artists, and committed to realizing w…Read more
The Black Queer Brooklyn on Film series, which runs every Thursday in June at the Brooklyn Museum, illuminates the active legacy of artists featured in "We Wanted a Revolution: Black Radical Women, 1965–85," an exhibition about artists involved in anti-ra…Read more
Intent on attracting new audiences and pushing the limits of live performance, choreographer Benjamin Millepied's L.A. Dance Project live-streamed a series of performances at Donald Judd's Chinati Foundation in Marfa, Tex. "Marfa Dance Episodes" were crea…Read more
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by Leah Pires
Louise Lawler's current exhibition at the Museum of Modern Art in New York focuses on her long-standing practice of photographically re-presenting the work of other artists, often in domestic settings or unexpected combinations––an approach many younger c…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
The works in Lisa Alvarado’s “Sound Talisman” weren’t paintings in a precious, gallery-bound sense. Rendered in craft-store acrylics on layers of inexpensive polyester satin, the large mandala-like hangings are supposed to be rolled, transported, and rearranged. Alvarado plays harmonium in the experimental ensemble Natural Information Society, which is led by her husband, Joshua Abrams, and these pieces, usually displayed two or three at a time, were made to invigorate venues during NIS performances. Yet when attached to strips of wood and suspended from the Bridget Donahue ceiling on sturdy hooks and chains, the painted fabric rectangles became more than utilitarian backdrops. They emerged as stand-alone visual inquiries that may occasionally accompany music and performance.
Bright and lively, the hangings were designed to be seen from a di...Read more
Between the normalization of “alternative facts” and the speed with which false information spreads through social media, evidence doesn’t seem to count for much these days. Anouk Kruithof’s “#Evidence,” the Dutch artist’s first solo exhibition in the United States, presented a suite of novel works, many of them sculptural—some wall-mounted and others floor-based—that test the concept’s elasticity. Although rooted in the techniques and technologies of digital image-making, the pieces are not photographs proper. Conceptually sticky, materially beguiling, and heavily shaped by online processes of sharing and exchange, the prints and print-based assemblages provide a very contemporary way to visualize an old problem: the treachery of images.
Kruithof looked to a classic for the conceptual sca...Read more
Since the mid-aughts, Los Angeles–based artist Tomory Dodge has been known for making abstract paintings defined by a kind of structured chaos. Some of them—such as the 2008 Daisy Cutter (titled after a weapon used in Vietnam and Afghanistan) and the 2009 Dresden—refer to violence and destruction wrought by his country. Yet no matter how dark the inspirations, Dodge’s works all evince an alluring, sumptuous use of paint that veers toward the decorative. Fashion designer Isaac Mizrahi, speaking with the New York Times, recently said of a 2011 Dodge painting he owns, Horrid Torrid Times, “You look at that painting and go, oh my God, it’s the end of the world, but what a happy end of the world.”
One might have expected the eight new paintings in Dodge’s recent exhibition at CR...Read more
Autumn Knight, originally from Houston and lately based in New York, is best known for her charged performance works. Intense and disarming, these pieces play off the social dynamics of her audiences, amplifying the race, gender, and power relationships in the room—often to absurd (even hilarious) effect. At the University of Illinois’s Krannert Art Museum, “In Rehearsal,” Knight’s first solo museum exhibition, was conceived around four such performances.
The first two were lively, improvisational group events presented this January and March in the single-room gallery that anchored the show. El Diablo y Cristo Negro (The Devil and Black Christ), a partially scripted comedic dialogue that drew upon Panama’s traditional Black Christ Festival, featured actor Chivas Michael and student Xavier Roe performing the title roles ...Read more
by Robert Rhee
The traveling exhibition “Art AIDS America,” opening this summer at the Bronx Museum, finds renewed relevance in the culture wars of the 1980s and ’90s, especially the dual political-aesthetic strategies of the era’s most socially committed artists.…Read more