It's the season of Paul McCarthy in New York. This spring and summer McCarthy's unsettling work—much of it a perverse reworking of children's fairy tales—will be the subject of six installations at five different locations around the city, not counting the Los Angeles-based artist's 21-year-old animatronic sculpture of a father instructing his son on the ways of love with a goat, which is already on view at the New Museum as part of the exhibition "NYC 1993" (through May 26). Read More
At 80 years old, Los Angeles-based artist John Outterbridge is experiencing something of a breakthrough in exposure of his work. Examples of his assemblage sculpture are on display at the Whitney Museum of American Art, New York, in the traveling group show "Blues for Smoke" (through Apr. 28), organized by the Museum of Contemporary Art Los Angeles, which examines contemporary art in relation to blues music and sensibilities. Read More
For more than 30 years, Thea Westreich Wagner and Ethan Wagner have devoted themselves to the singular passion of art collecting—separately at first, and for the last two decades as one of the international art world's preeminent couples. Their forthcoming book, Collecting Art for Love, Money and More (Phaidon, Apr. 9), was a long time coming. It is the first they've authored, together or separately, and it testifies to their combined decades of experience.
Making a case for figurative painting in the contemporary art scene, last week The Hole gallery in downtown New York opened "Chicken or Beef?," a group exhibition of works by more than 30 contemporary American and European painters.
Named for the age-old mealtime question aboard transatlantic flights, the exhibition was curated by Jesper Elg, co-founder and director of V1 Gallery, in Copenhagen, which has exhibited forceful work by several of the artists in the show, including Katherine Bernhardt, John Copeland, HuskMitNavn and Geoff McFetridge. Read More
The Alexander in downtown Indianapolis, which opened late January, isn't the first hotel to sell itself on the strength of its art: The Gramercy Park Hotel, in New York, 21(c), in Louisville, and the James, in Chicago, come to mind. But the Alexander represents an evolution in the art hotel concept. Its developers' unique collaboration with the Indianapolis Museum of Art (IMA) and its front-and-center placement of the art and associated didactic materials, grants the work a didactic authority rare outside museum walls, eschewing hotel art's traditionally decorative role, aggressively challenging visitors to stop, to inquire, to engage.
Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200