Art in America - Most Recent The most recent items from Art in America. http://www.artinamericamagazine.com Thu, 19 Jan 2017 14:10:38 +0100 FeedCreator 1.7.2 Tamara Henderson http://www.artinamericamagazine.com/reviews/tamara-henderson/ <p>Vancouver-based artist Tamara Henderson&rsquo;s exhibition &ldquo;Seasons End: Panting [<em>sic</em>] Healer&rdquo; drew on journeys both geographic and psychic, and had all the dislocating strangeness of a theater wardrobe or prop room.&nbsp;</p> By Jonathan Griffin Thu, 19 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-tamara-henderson_16204327537.jpg_standalone.jpg Ginny Casey http://www.artinamericamagazine.com/reviews/ginny-casey/ <p>Ginny Casey&rsquo;s paintings<em>&nbsp;</em>often cast objects and human forms in allegories for making. On view in her recent exhibition at Half Gallery, for instance,&nbsp;<em>The Potter&rsquo;s Legs&nbsp;</em>(2014) depicts a purple-fleshed figure struggling to carry a vaguely ear-shaped form toward a large block of gray clay draped with a cutting wire, the image capturing the sense of an artist&rsquo;s clumsy crawl toward resolution.</p> By Eric Sutphin Wed, 18 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-ginny-casey_155519361293.jpg_standalone.jpg Nicolás Consuegra http://www.artinamericamagazine.com/reviews/nicols-consuegra/ <p class="p1">The new works in Consuegra&rsquo;s recent show there (all 2016) involve everyday objects that have morphed into novel configurations and taken on new identities.&nbsp;Two exquisite furniture sculptures, for which Consuegra collaborated with local craftspeople, were standouts.&nbsp;</p> By Gregory Volk Tue, 17 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-nicols-consuegra_162158481680.jpg_standalone.jpg Toba Khedoori http://www.artinamericamagazine.com/reviews/toba-khedoori/ <p>Toba Khedoori&rsquo;s intricate renderings of decontextualized architectural spaces on wall-size swaths of wax-treated&nbsp;paper exist in a liminal state: they are highly detailed and precise, yet remain reticent and shrouded in mystery.&nbsp;</p> By Jennifer S. Li Fri, 13 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-toba-khedoori_162121100301.jpg_standalone.jpg The Institution as User: Museums on Social Media http://www.artinamericamagazine.com/news-features/news/the-institution-as-user-museums-on-social-media/ <p>On Twitter, Facebook, or Instagram, the museum becomes one of many users, just like the individuals who visit it. Taking advantage of the communication opportunities offered by social media requires accepting a diminishment in status-but this, too, can have surprising benefits.&nbsp;</p> By Brian Droitcour Fri, 13 Jan 2017 00:00:00 +0100 /files/2017/01/13/img-museums-social-media_132746869325.jpg_standalone.jpg Jennifer and Kevin McCoy http://www.artinamericamagazine.com/reviews/jennifer-and-kevin-mccoy-1/ <p>The eerie prescience of Jennifer and Kevin McCoy&rsquo;s recent show at Postmasters was brought home in the wake of the presidential election, as protesters converged night after night in front of New York&rsquo;s Trump Tower.</p> By David Markus Thu, 12 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-jennifer-and-kevin-mccoy_155313384403.jpg_standalone.jpg Across the Spectrum of Taste: In Conversation with Chris Oh http://www.artinamericamagazine.com/news-features/interviews/across-the-spectrum-of-taste-in-conversation-with-chris-oh/ <p>Fortnight Institute, a nonprofit space in the East Village, has an area of less than four hundred square feet, but that's enough for visitors to Chris Oh's solo exhibition "Plays" to behold canonical Renaissance and Baroque works perfectly recreated on an idiosyncratic set of objects that Oh employs as his canvases.</p> By Zach Sokol Thu, 12 Jan 2017 00:00:00 +0100 /files/2017/01/12/img-chris-oh-1_161517421243.jpg_wide_hthumb.jpg Edgar Arceneaux http://www.artinamericamagazine.com/reviews/edgar-arceneaux-1/ <p>Arceneaux&rsquo;s immersive, theatrical works reveal complex, lost storylines of the post&ndash;civil rights era<strong>&nbsp;</strong>United States and cast us as witnesses to the lies, redactions, iconizing, and forgetting that has shaped this country, particularly the lives of African-Americans.</p> By Kirsten Swenson Wed, 11 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-edgar-arceneaux_161139549761.jpg_standalone.jpg Karin Schneider http://www.artinamericamagazine.com/reviews/karin-schneider/ <p>For her first exhibition at Dominique L&eacute;vy, &ldquo;Situational Diagram,&rdquo; Karin Schneider filled both floors of the gallery&rsquo;s Upper East Side town house with variations on the theme of the black monochrome. For these works (all 2016), Schneider employed a set of specific processes&mdash;splitting, cancelling, obstructing, monochroming, extracting, and naming&mdash;that conjoined historical forms of abstraction to structuralist theories of power and subjectivity.</p> By Rachel Wetzler Tue, 10 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-karin-schneider_155230207785.jpg_standalone.jpg Wu Tsang http://www.artinamericamagazine.com/reviews/wu-tsang/ <p>Wu Tsang&rsquo;s recent exhibition at 356 Mission, &ldquo;The Luscious Land of God Is Sinking,&rdquo; was a mesmerizing and entirely unexpected outing for the artist. Rooted in the club culture of Los Angeles, Tsang is best known for performances and videos that evoke contemporary trans lives, most often in urban settings.&nbsp;</p> By Ciara Moloney Mon, 09 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-wu-tsang_161709777043.jpg_standalone.jpg First Look: Walter K. Scott http://www.artinamericamagazine.com/news-features/magazine/first-look-walter-k-scott/ <p>Walter K. Scott skewers the art world&mdash;especially young artists' often self-destructive pursuit of success&mdash;through the comic-strip misadventures of his alter ego, Wendy.</p> By Brian Droitcour Mon, 09 Jan 2017 00:00:00 +0100 /files/2017/01/09/img-first-look-walter-k-scott_111748965848.jpg_wide_hthumb.jpg Before Realism http://www.artinamericamagazine.com/news-features/magazine/before-realism/ <p>In the seventeenth century, French painters Valentin de Boulogne and the Brothers Le Nain used lessons drawn from Caravaggio to initiate a closer observation of everyday scenes and characters.&nbsp;</p> By Richard Neer Mon, 09 Jan 2017 00:00:00 +0100 /files/2017/01/09/img-before-realism_115740334778.jpg_wide_hthumb.jpg Zao Wou-Ki http://www.artinamericamagazine.com/reviews/zao-wou-ki/ <p>Chinese-born painter Zao Wou-Ki (1920&ndash;2013) had a long and successful career. But his story presents a classic example of an artist who established an international reputation early on but over time came to be taken for granted, if not nearly forgotten.</p> By David Ebony Fri, 06 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-zao-wou-ki_155149126352.jpg_standalone.jpg Bruce Nauman http://www.artinamericamagazine.com/reviews/bruce-nauman-1/ <p>Bruce Nauman&rsquo;s&nbsp;<em>Contrapposto Studies, I through VII&nbsp;</em>(2015&ndash;16) is part of his ongoing search for capaciousness in the particular. This seven-part video installation is split between two galleries at the Philadelphia Museum of Art and is kin to his iconic 1968 single-channel video&nbsp;<em>Walk with Contrapposto</em>, owned by the museum and on display in an adjacent room.</p> By Serena Qiu Thu, 05 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-bruce-nauman_161040359122.jpg_standalone.jpg Up Close 2016: Around Atlanta http://www.artinamericamagazine.com/news-features/news/up-close-2016-around-atlanta/ <p>In 2016 we launched&nbsp;the Robert Rauschenberg Foundation/Art in America Arts Writing Fellowships, a joint project designed to foster art and culture writing in cities throughout the US. For our December issue,&nbsp;fellowship recipient Victoria Camblin&nbsp;wrote on the work of architect and real estate developer John Portman as a touchstone that artists react to as they intervene in Atlanta&rsquo;s urban sprawl. Here Camblin reflects on the most important cultural events in Georgia last year.</p> By Victoria Camblin Thu, 05 Jan 2017 00:00:00 +0100 /files/2017/01/05/img-atlanta-2016-1_113156654517.jpg_wide_hthumb.jpg Cecily Brown http://www.artinamericamagazine.com/reviews/cecily-brown/ <p>The title of Cecily Brown&rsquo;s exhibition at the Drawing Center, &ldquo;Rehearsal,&rdquo; was intended to reflect the meaning of the Old French version of the term.&nbsp;<em>Rehercier</em>, a wall text instructed, meant &ldquo;to go over something again with the aim of more fully understanding it,&rdquo; rather than, as &ldquo;rehearse&rdquo; currently denotes, to practice for a crowning performance.</p> By Elizabeth Buhe Wed, 04 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-cecily-brown_155042202969.jpg_standalone.jpg Up Close 2016: New Orleans http://www.artinamericamagazine.com/news-features/news/up-close-2016-new-orleans/ <p>In 2016 we launched&nbsp;the Robert Rauschenberg Foundation/Art in America Arts Writing Fellowships, a joint project designed to foster art and culture writing in cities throughout the US. Fellowship recipient Cameron Shaw looks back on some of her strongest visual impressions in the city last year.</p> By Cameron Shaw Wed, 04 Jan 2017 00:00:00 +0100 /files/2017/01/04/img-adam-pendleton_114713109903.jpg_wide_hthumb.jpg Overview: Immerse Yourself http://www.artinamericamagazine.com/reviews/overview-immerse-yourself/ <p>Only a handful of movie theaters around the country are equipped to screen&nbsp;<em>Billy Lynn&rsquo;s Long Halftime Walk</em>as acclaimed director Ang Lee intended it to be seen. Centering on an Iraq War hero&rsquo;s ambivalence about participating in a souped-up patriotic rally at a Dallas Cowboys game, Lee&rsquo;s sardonic allegory of twenty-first century America is meant to be, as the press material states, an &ldquo;immersive&rdquo; experience.&nbsp;</p> By William S. Smith Tue, 03 Jan 2017 00:00:00 +0100 /files/2016/12/15/img-overview-immerse-yourself-1_154558785596.jpg_wide_hthumb.jpg Atlas Dubai: Consumed Culture http://www.artinamericamagazine.com/news-features/magazine/atlas-dubai-consumed-culture/ <p>The work of many artists in Dubai, a locale hosting a hodgepodge of nationalities, suggests that the emirate is not a melting pot but a welter of distinct cultural parts.</p> By Rahel Aima Sun, 01 Jan 2017 00:00:00 +0100 /files/2016/12/22/img-atlas-dubai-1_170152422974.jpg_wide_hthumb.jpg Labor Relations http://www.artinamericamagazine.com/news-features/magazine/labor-relations/ <p>For some forty years, Mierle Laderman Ukeles has striven&mdash;through artworks, performances, and manifestos&mdash;to bring greater recognition to women's domestic labor and the underappreciated services of New York City's Sanitation workers. Yet even she, the author argues, cannot entirely escape the exploitive regime of municipal authorities.</p> By Mostafa Heddaya Sun, 01 Jan 2017 00:00:00 +0100 /files/2016/12/22/img-ukeles-1_164841291516.jpg_wide_hthumb.jpg Slavs and Tatars http://www.artinamericamagazine.com/reviews/slavs-and-tatars/ <p>Founded in 2006, Slavs and Tatars is an international collective whose eclectic work focuses on the vast, multiethnic portion of Eurasia that lies, according to the artists, &ldquo;east of the former Berlin Wall and west of the Great Wall of China.&rdquo;</p> By Gregory Volk Thu, 29 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-slavs-and-tatars_11185573079.jpg_standalone.jpg Zak Prekop http://www.artinamericamagazine.com/reviews/zak-prekop/ <p>The Brooklyn-based artist Zak Prekop has honed a distinctive style with an undeniably contemporary feel, all while employing formalist elements that abstractionists have been using for more than a century. He presented ten of his latest oils in his fifth solo exhibition at Shane Campbell, where he first showed in 2008&mdash;the same year he received his master&rsquo;s degree from the School of the Art Institute of Chicago.</p> By Kyle MacMillan Thu, 29 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-zak-prekop_112126438756.jpg_standalone.jpg Chou Yu-Cheng http://www.artinamericamagazine.com/reviews/chou-yu-cheng/ <p>Chou Yu-Cheng (b. 1976) has become known for an administrative<strong>&nbsp;</strong>brand of conceptualism inspired by European strategies like relational aesthetics. For the 2010 installation&nbsp;<em>TOA Lighting</em>, for instance, the Taipei-based artist, who did his graduate work in Paris, arranged for the private Hong-gah Museum in Taipei to receive modern fluorescent lights and sponsorship from the company TOA Lighting.</p> By Wendy Vogel Wed, 28 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-chou-yu-cheng_113125836522.jpg_standalone.jpg Up Close 2016: Detroit http://www.artinamericamagazine.com/news-features/news/up-close-2016-detroit/ <p>In 2016 we launched&nbsp;the Robert Rauschenberg Foundation/Art in America Arts Writing Fellowships, a joint project designed to foster art and culture writing in cities throughout the US. For our September issue,&nbsp;fellowship recipient Lynn Crawford&nbsp;wrote an account of new developments in Detroit's creative communities. Here she reflects on the most significant artworks produced in the city over the last year.</p> By Lynn Crawford Wed, 28 Dec 2016 00:00:00 +0100 /cms/image/slideshow_horz_silhouette.jpg Up Close 2016: Around Houston http://www.artinamericamagazine.com/news-features/news/up-close-2016-around-houston/ <p>Bill Arning reflects on the last year's highlights of artistic life in Houston and its orbit</p> By Bill Arning Tue, 27 Dec 2016 00:00:00 +0100 /cms/image/slideshow_horz_silhouette.jpg Up Close 2016: San Francisco http://www.artinamericamagazine.com/news-features/news/up-close-2016-san-francisco/ <p>Kevin Killian discusses exhibitions and changes&nbsp;in&nbsp;the Bay Area&nbsp;over the last year.</p> By Kevin Killian Mon, 26 Dec 2016 00:00:00 +0100 /cms/image/slideshow_horz_silhouette.jpg Jonathan Gardner http://www.artinamericamagazine.com/reviews/jonathan-gardner/ <p>Two nearly identical young women with bobbed red hair sit before a large standing mirror in a room carpeted in jungle green. One of them perches on a divan, holding a telephone away from her ear. Her white underwear peaks out from beneath a blue ombr&eacute; tunic, the slightly indecent pose resembling the relaxed stances of Balthus&rsquo;s underage models.</p> By Julia Wolkoff Thu, 22 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-jonathan-gardner_112048411465.jpg_standalone.jpg Sex Obsessed: A Conversation with Asher Penn http://www.artinamericamagazine.com/news-features/interviews/sex-obsessed-a-conversation-with-asher-penn/ <p>When I first encountered&nbsp;<em>Sex&nbsp;</em>magazine, the online-only publication felt both sui generis and familiar. Created by Asher Penn in 2012,&nbsp;<em>Sex&nbsp;</em>reminded me of print magazines like&nbsp;<em>Index&nbsp;</em>or&nbsp;<em>Butt</em>, in that it spotlighted underground artists and cult heroes as well as emerging creatives. Each issue was like a cheat sheet for developing in-the-know taste. &nbsp;</p> By Zach Sokol Thu, 22 Dec 2016 00:00:00 +0100 /files/2016/12/22/img-sex-magazine-asher-penn-1_115137806997.jpg_wide_hthumb.jpg Yevgeniya Baras http://www.artinamericamagazine.com/reviews/yevgeniya-baras/ <p>Yevgeniya Baras&rsquo;s &ldquo;All Inside of Itself, Close&rdquo; was the artist&rsquo;s second solo exhibition in New York and her first with Nicelle Beauchene. Displaying tight compositions and keyed-up color, the fourteen untitled paintings on view (all 2016) demonstrate a significant leap from the pieces in her first solo show, at Steven Harvey Fine Art Projects in 2015.</p> By Nora Griffin Wed, 21 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-yevgeniya-baras_111711806639.jpg_standalone.jpg Gülsün Karamustafa http://www.artinamericamagazine.com/reviews/glsn-karamustafa/ <p>G&uuml;ls&uuml;n Karamustafa&rsquo;s work explores the processes of modernization, political turbulence, and civil rights issues that have arisen in Turkish society in a period that spans, among other events, the military coups of 1960, 1971, and 1980.</p> By Arielle Bier Tue, 20 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-glsn-karamustafa_112713649888.jpg_standalone.jpg Antonio Lopez http://www.artinamericamagazine.com/reviews/antonio-lopez/ <p>The influential fashion illustrator Antonio Lopez (1943&ndash;1987), who was born in Puerto Rico but lived in New York and Paris, wrought his own vision of anatomy from a late twentieth-century concept of the performance of selfhood in his work for magazines and fashion houses and his own personal sketches. Inspired by disco, bodybuilding, and other ascendant subcultures of his time, he drew images of bodies becoming images.</p> By Brian Droitcour Mon, 19 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-antonio-lopez_111511446082.jpg_standalone.jpg Suzanne Blank Redstone http://www.artinamericamagazine.com/reviews/suzanne-blank-redstone/ <p>Suzanne Blank Redstone&rsquo;s exhibition at Jessica Silverman Gallery highlighted<strong>&nbsp;</strong>her early, formative explorations of abstraction. The presentation featured ten acrylic paintings (nine on masonite and one on canvas) from the artist&rsquo;s &ldquo;Portals&rdquo; series (1966&ndash;69), as well as a selection of drawn studies for the works.</p> By Gwen Allen Fri, 16 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-suzanne-blank-redstone_112259182408.jpg_standalone.jpg Ivens Machado http://www.artinamericamagazine.com/reviews/ivens-machado/ <p>This concentrated look at the first two decades of work by Ivens Machado (1942&ndash;2015), titled &ldquo;O Cru do Mundo&rdquo; (Raw of the World), opened with a re-creation of a destroyed, untitled 1982 sculpture that consists of a reinforced-concrete egg studded with shards of glass and resting on an armature of iron bars and concrete feet.</p> By Alexandra Pechman Thu, 15 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-ivens-machado_112356179146.jpg_standalone.jpg Fill in the Blanks: Photography at the Barnes http://www.artinamericamagazine.com/news-features/news/fill-in-the-blanks-photography-at-the-barnes/ <p>The Barnes Foundations' current display of more than 170 vintage photographs by 22 influential photographers, "Live and Life Will Give You Pictures: Masterworks of French Photography, 1890-1950," is not only a survey replete with famous images but also an adjunct that amplifies the permanent collection.</p> By Carol Strickland Wed, 14 Dec 2016 00:00:00 +0100 /files/2016/12/13/img-barnes-photo-1_1309527910.jpg_wide_hthumb.jpg Henry Taylor http://www.artinamericamagazine.com/reviews/henry-taylor-1/ <p>Henry Taylor, a stalwart of the Los Angeles art scene, is known for painting sympathetic portraits of local characters, family, friends, and celebrities in a loose, gestural manner, with thick strokes of acrylic quickly marking out details. The figures tend to stare out from the pictures, producing a tension in which viewers are made aware of their voyeuristic gaze.</p> By Ciara Moloney Wed, 14 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-henry-taylor_112210386461.jpg_standalone.jpg Walter Robinson http://www.artinamericamagazine.com/reviews/walter-robinson-1/ <p>On one level, Walter Robinson&rsquo;s paintings of glamorous models, sexy couples based on 1950s pulp-fiction covers, adorable kittens, fast food items, and other media subjects are part of a long Pop art tradition that began in the mid-1960s.</p> By David Ebony Tue, 13 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-walter-robinson_111809661872.jpg_standalone.jpg Lin May Saeed http://www.artinamericamagazine.com/reviews/lin-may-saeed/ <p>Lin May Saeed (b. 1973) is as much an animal rights advocate as an artist. Despite the progressive perspectives put forth by scholars like Donna Haraway in her book&nbsp;<em>Companion Species Manifesto: Dogs, People, and Significant Otherness&nbsp;</em>(2003), empathy with animals remains rare in art.</p> By Aoife Rosenmeyer Mon, 12 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-lin-may-saeed_113006496529.jpg_standalone.jpg Suellen Rocca http://www.artinamericamagazine.com/reviews/suellen-rocca/ <p>The recent proliferation of smart, funny, cartoony paintings by younger artists in New York has coincided with the rediscovery, through a spate of museum and gallery shows, of work by artists who made smart, funny, cartoony work half a century ago, often outside New York. It&rsquo;s not clear which trend is driving the other, but both are certainly welcome.</p> By Julian Kreimer Fri, 09 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-suellen-rocca_111610767787.jpg_standalone.jpg Renée Green http://www.artinamericamagazine.com/reviews/rene-green/ <p>In Ren&eacute;e Green&rsquo;s recent exhibition at Nagel Draxler, a row of twenty-eight small fabric banners hung across two walls facing the gallery&rsquo;s storefront windows, displaying a mix of bold and dissonant colors&mdash;hot reds and yellows broken up by cooler blues, greens, and gray.</p> By Mostafa Heddaya Thu, 08 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-rene-green_112912972900.jpg_standalone.jpg Kai Althoff http://www.artinamericamagazine.com/reviews/kai-althoff-1/ <p>It is easy for the visitor to Kai Althoff&rsquo;s retrospective at the Museum of Modern Art,&nbsp;&nbsp;&ldquo;and then leave me to the common swifts,&rdquo; to grow irritated: the long wait for entry into the overcrowded galleries, the admonishment from the well-meaning museum employees about the absolute prohibition of photography, the barely legible checklist available at the entrance, and then, finally, the show. A jumble.</p> By William S. Smith Wed, 07 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-kai-althoff_111206470088.jpg_standalone.jpg