To commemorate Art in America’s 100th anniversary, we reenact a project from the January-February 1967 issue.
What can we see? What do we hear? How do image and sound relate? What is an image, or an object? How separate is one thing from the next? Such questions proliferate when we watch a work by British filmmaker Emily Wardill, often a somewhat bewildering experience at first. Despite their ostensible narrative frameworks, her recent feature-length films, such as Game Keepers without Game (2009) or Fulll Firearms (2011), are so fraught with ontological issues and strategies of disruption that any hope of straightforward interpretation is deeply shaken, if not totally shattered.
Christie's contemporary art sale last night achieved the highest total in auction history at $495 mill… Read More
Cornelia Butler, named in April as co-curator with Michael Ned Holte of the upcoming Hammer biennial … Read More
Collage and acrylic on paper, thread, string, plastic lid
48 x 30 ¼ in.