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
What surprised artist Hannes Koch most about Rain Room (2012), an installation which he co-created that consists of a field of falling water that stops when it detects a presence, was not how well it was received. It broke attendance records at the Barbican in London earlier this year. Instead, Koch was impressed by the way the work serves as a kind of memory chamber for so many people, himself included. Read More
During a spring 2010 interview on the Louisiana Museum of Art's internet radio channel, Swiss-born, New York-based artist Ugo Rondinone declared, "You never see any action in my work. It's a lazy work." Read More
Even Jeff Koons's vaunted perfectionism and attention to detail couldn't overcome the everyday realities of installation delays this week in New York. He was double-booked, opening shows five blocks and less than 24 hours apart at two of the art world's most prestigious galleries, David Zwirner and Gagosian. Read More
Jack Goldstein's first American museum retrospective, opening this week at New York's Jewish Museum, offers a chance to reevaluate a key artist of the Pictures Generation. Guest curator Philip Kaiser (now director of Cologne's Museum Ludwig), organized "Jack Goldstein x 10,000" for the Orange County Museum of Art, Newport Beach, Calif., where the exhibition first opened last June. On view in New York May 10-Sept. 29, the retrospective is an appropriately bicoastal survey for an artist (1945-2003) who came of age during one of the most fertile periods for Conceptualism in Los Angeles before establishing himself as a canonical New York appropriation artist.
2012, aluminum, wood, sublimation print on polyester and concrete, 71 3/4 by 122 1/2 by 135 inches overall. Courtesy Tanya Bonakdar Gallery, New Yor