Art in America - Most Recent The most recent items from Art in America. Tue, 25 Oct 2016 18:44:27 +0100 FeedCreator 1.7.2 Larry Walker <p>Since the 1960s, Larry Walker has pursued a rigorous artistic practice, often portraying human<strong>&nbsp;</strong>bodies and landscapes under duress. Raised in Harlem and educated in Detroit, he has lived since the 1980s in Atlanta, where he was the director of the Georgia State University art department. A witness to social upheavals, Walker pairs in his work a politicized sensibility and a keen reading of art history.&nbsp;</p> By Wendy Vogel Tue, 25 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-larry-walker_151549635614.jpg_standalone.jpg Pentti Monkkonen <p>Before there were art schools and galleries in Los Angeles, there were murals. The tradition has a long and distinguished history, dating from the city&rsquo;s eighteenth-century Hispanic founders, and it continues to thrive and evolve. LA-based artist Pentti Monkkonen&rsquo;s exhibition of new works (all 2016) at Jenny&rsquo;s smartly engaged with this history, drawing on retrospective time frames both micro and macro.</p> By Jonathan Griffin Mon, 24 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-pentti-monkkonen_152053887616.jpg_standalone.jpg Kurt Schwitters <p>This year marks the one hundredth anniversary of Dada, and so it seems fitting that Galerie Gmurzynska, which is situated on the same block as the original Cabaret Voltaire, held an exhibition dedicated to Kurt Schwitters, one of the movement&rsquo;s protagonists. It also produced a three-volume catalogue. Schwitters was a veritable artist&rsquo;s artist: though his influence can be discerned throughout art of the twentieth and early twenty-first centuries, his name does not carry the luster of Picasso or Duchamp.</p> By Travis Jeppesen Fri, 21 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-kurt-schwitters_152358779464.jpg_standalone.jpg Sadie Benning <p>Sadie Benning&rsquo;s exhibition &ldquo;Green God&rdquo; took over Callicoon Fine Arts on the Lower East Side and Mary Boone in Midtown with two dozen works (all 2015 or 2016) that hover ambiguously between sculpture and painting. Each was constructed from various fitted-together pieces of jigsaw-cut wood covered with&nbsp;layers of resin, casein, and acrylic sanded to a matte, leathery-looking finish.</p> By Tatiana Istomina Thu, 20 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-sadie-benning_151130335083.jpg_standalone.jpg Sharon Hayes <p>Sharon Hayes&rsquo;s exhibition &ldquo;In My Little Corner of the World, Anyone Would Love You&rdquo; presented the activist &ldquo;speech acts&rdquo; for which the Baltimore-born, Philadelphia-based artist is known. The focus of the show, installed at a slight angle to the walls of Studio Voltaire (a former chapel), was a five-channel video projected onto an L-shaped structure made of plywood.</p> By Milena Tomic Wed, 19 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-sharon-hayes_152319270457.jpg_standalone.jpg Pleasure, Pain, and Politics: Ellen Cantor in New York <p>Amid a resurgence of interest in the New York art scene of the 1990s, the recent reappraisal of the work of feminist artist Ellen Cantor feels particularly timely. She first gained critical attention&mdash;and notoriety&mdash;in the early&nbsp;&rsquo;90s, deftly combining pornography with politics and pop culture with the handmade in her paintings, drawings, sculptures, videos, and films.</p> By Dana Kopel Wed, 19 Oct 2016 00:00:00 +0100 /files/2016/10/19/img-ellen-cantor-4_114520174928.jpg_wide_hthumb.jpg Raúl De Nieves <p>The sculptures, paintings, and costumes in Ra&uacute;l De Nieves&rsquo;s exhibition &ldquo;El Rio&rdquo; conjure an intricate world of glittering coral reefs, ornamented cathedrals, epic military campaigns, ancient ceremonies, and lush jungles. A series of four compositions in colored beads, paper, and confetti on plywood served as a compass for the show.&nbsp;</p> By Sam Korman Tue, 18 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-ral-de-nieves_151504674317.jpg_standalone.jpg Stop, Look, and Listen: Testing SFMOMA’s Visitor App <p>As I downloaded the San Francisco Museum of Modern Art&rsquo;s new visitor app to my phone, I paused to savor my final moments of one particular innocence.&nbsp; In three decades of museum-going, I had never downloaded a museum app before. I hadn&rsquo;t even used an audio guide. &nbsp;If anything, I resented those distracted, headphone-wearing hordes roaming around exhibition spaces with reduced sensory awareness of their immediate environment. My intuition was that looking at artworks with a guide would somehow stunt the experience, like cooking dinner while playing music so loud that you can&rsquo;t hear the fat sizzle.</p> By Brandon Brown Tue, 18 Oct 2016 00:00:00 +0100 /files/2016/10/18/img-sfmoma-app-screen_121210635092.jpg_standalone.jpg Libby Black <p>Bay Area artist Libby Black&rsquo;s signature sculptures re-create commodities, frequently luxury goods, using materials like paper, hot glue, and acrylic paint. She places these to-scale renderings<strong>&nbsp;</strong>of books, magazines, handbags, and shoes in&nbsp;still-life arrangements, producing what amount to compositionally pleasing indexes of acquisition and aspiration that&nbsp;toy with our tendency to regard material possessions as reflections of our inner selves.</p> By Matt Sussman Mon, 17 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-libby-black_15215073512.jpg_standalone.jpg The Social in Practice: A Conversation with Nina Simon <p>Engagement is a hot topic in the museum world. Buzzwords like &ldquo;collaboration,&rdquo; &ldquo;participation,&rdquo; and &ldquo;inspiration&rdquo; are used often across the sector, from grant applications to professional conferences. In today&rsquo;s connected and fast-paced cultural landscape, there&rsquo;s no question that the impetus and pedagogical role of museums<strong>&nbsp;</strong>are undergoing a profound paradigm shift.</p> By Ceci Moss Mon, 17 Oct 2016 00:00:00 +0100 /files/2016/10/14/img-nina-simon-3_110454679163.jpg_wide_hthumb.jpg Makoto Aida <p>The photograph accompanying this review looks better than the actual work on the wall. The photograph looks like a painting, and feels like earnest art. The actual work looks flimsy and feels flippant. If it were not for the artist&rsquo;s reputation (second in Japan only to that of Takashi Murakami), you would mentally discard the work in that bottomless wastebin of uncooked ideas. Much of Makoto Aida&rsquo;s work is sketchlike, and is often interesting for that. Not this time.</p> By Ryan Holmberg Fri, 14 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-makoto-aida_152620810050.jpg_standalone.jpg Peter Linde Busk <p>Harold Rosenberg noted in 1964 that by appropriating past styles and tropes an artist &ldquo;&lsquo;flattens out time&rsquo; by bringing its successive layers forward into a durationless present.&rdquo; In the paintings, collages, mosaics, and ceramics in Berlin-based, Copenhagen-born Peter Linde Busk&rsquo;s US solo debut, characters like the harlequin and the Amazon warrior are borrowed freely from art history. Linde Busk utilizes such references as one of his conceptual tools, attempting to wrest fresh affective experience from familiar subjects by depicting them with unexpected materials and methods.</p> By Eric Sutphin Thu, 13 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-peter-linde-busk_150940548561.jpg_standalone.jpg Mary Heilmann <p>It was palpably clear from her Whitechapel Gallery retrospective that Mary Heilmann had initially trained as a sculptor&mdash;and not just because the earliest piece on display,&nbsp;<em>The Big Dipper</em>&nbsp;(1969), was a work in clay, one whose hand-molded ladle shape and blazon of tinfoil stars seemed to suggest a sort of jokey, down-to-earth materialism. Even after she began working predominantly as a painter, around 1970, her output maintained this inherently constructed, almost architectural quality, with her canvases using color like a physical thing: a lurid cornucopia of hues that can<strong>&nbsp;</strong>stack as stripes or tessellate as blocks or repeat in a delirious variety of modular formations.</p> By Gabriel Coxhead Wed, 12 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-mary-heilmann_152238699634.jpg_standalone.jpg Made in LA <p>The third iteration of the Hammer Museum&rsquo;s Made in LA biennial&mdash;organized by the museum&rsquo;s Aram Moshayedi and the Renaissance Society&rsquo;s Hamza Walker&mdash;proposed a current art scene that is much more diverse, with artists whose backgrounds and practices are as wide-ranging as the city&rsquo;s notorious sprawl. The contributions by the show&rsquo;s twenty-six participants spanned the fields of<strong>&nbsp;</strong>film, fashion, television, the internet, literature, and music, as well as painting and sculpture.&nbsp;</p> By Jennifer S. Li Tue, 11 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-made-in-la_151913177010.jpg_standalone.jpg “Blackness in Abstraction” <p>More than halfway through &ldquo;Blackness in Abstraction,&rdquo; an austere photograph by Carrie Mae Weems posed a Mies van der Rohe leather daybed&mdash;conjuring a truant psychoanalytic patient, perhaps&mdash;against a wall of empty rectangles delineated by thin black cord. Is it Weems&rsquo;s own oeuvre, predominantly comprised of photographs and videos addressing inequities of gender, class, and race, that has been evacuated from display?&nbsp;</p> By Elizabeth Buhe Fri, 07 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-blackness-in-abstraction_150817877135.jpg_standalone.jpg Carl Cheng <p>If you believe the clich&eacute;s, Los Angeles is a place for relentless innovation and personal reinvention. But over the past few years, the Southern California art scene has made its mark by reexamining its past. From the Getty&rsquo;s Pacific Standard Time initiative to the Hammer Museum&rsquo;s Made in LA biennial this summer, LA institutions have continually demonstrated the significance of the city&rsquo;s art history by presenting viewers with historical works by area artists. Concurrent with Made in LA was an exhibition rediscovering the early work of Carl Cheng (b. 1942), known mostly for the public art he has made since the 1980s.&nbsp;</p> By Wendy Vogel Thu, 06 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-carl-cheng_152004635201.jpg_standalone.jpg The Politics of Sound: An Interview with Christine Sun Kim <p>This week, as part of Frieze Live 2016, the events program for the London art fair, California&mdash;born, Berlin&mdash;based artist Christine Sun Kim is presenting a new performance piece,&nbsp;<em>Nap Disturbance</em>. Born deaf, Kim explores the materiality of sound through drawing, painting, and video, opening up new fields of perception to hearing and hearing impaired audiences alike.</p> By Philomena Epps Thu, 06 Oct 2016 00:00:00 +0100 /files/2016/10/06/img-christine-sun-kim-3_111448786752.jpg_wide_hthumb.jpg Asger Jorn <p>The best-known works by Danish artist Asger Jorn (1914&ndash;1973) are eccentric, quasi-abstract paintings featuring wildly distorted faces, figures, and animals executed with feverish brushwork in acid colors. A founding member of the short-lived but greatly influential CoBrA movement, which was active from 1948&shy; to 1951, Jorn created paintings epitomizing the existentialist angst of postwar Europe. Throughout his heyday, in the 1950s and &rsquo;60s, his paintings deliberately countered the conventions of quality and good taste in Western art.</p> By David Ebony Wed, 05 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-asger-jorn_150721405512.jpg_standalone.jpg “The Equilibrists” <p>Organized by New York&rsquo;s New Museum and Athens&rsquo;s DESTE Foundation in collaboration with the Benaki Museum, the show features some thirty artists who started their careers during a period of crisis. Caught between the threat of Grexit and the reality of Brexit, they and their peers have borne the brunt of punitive austerity and the highest unemployment rate in Europe.&nbsp;</p> By William S. Smith Tue, 04 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-the-equilibrists_152518590407.jpg_standalone.jpg Danny Lyon <p>Providing the most comprehensive survey of photographer Danny Lyon&rsquo;s work to date, &ldquo;A Message to the Future&rdquo; is a timely exhibition for an era of renewed political activism. A photographic heir to both Walker Evans and Robert Frank, Lyon emerged in the 1960s as a key chronicler of the Civil Rights Movement, and has spent much of the last fifty years focusing his work, which he calls &ldquo;advocacy journalism,&rdquo; on marginalized populations in the US and around the world.</p> By David Markus Mon, 03 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-danny-lyon_150546652303.jpg_standalone.jpg The Digitized Museum <p>Introducing <em>A.i.A.</em>&rsquo;s special issue on museums and digital technology, its organizers reflect on how new electronic devices, new institutional policies and programs, and a new emphasis on access, interactivity, and feedback are altering long-established ideas about what an art museum is and what it should do.</p> By William S. Smith, Brian Droitcour Sat, 01 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-digitized-museum-intro-1_180539846859.jpg_wide_hthumb.jpg The Public as Producer <p>At the Cooper Hewitt, a multipurpose handheld device called the Pen enables visitors to share in &ldquo;design thinking&rdquo; through instantaneous searches of the collection and experiments in high-tech drafting.</p> By Desi Gonzalez Sat, 01 Oct 2016 00:00:00 +0100 /files/2016/09/29/img-public-producer-1_142624819265.jpg_wide_hthumb.jpg Silicon Values <p>The New Museum has adopted the start-up incubator model for its New Inc residency program. Has it also taken on the goals and thinking of today's venture capitalists?</p> By Mike Pepi Sat, 01 Oct 2016 00:00:00 +0100 /files/2016/09/29/img-silicon-values-1_135951174441.jpg_wide_hthumb.jpg Unknown Makers <p>Casts and copies once played a key role in education of artists and their public. Will the ever-proliferating, ever-improving images and 3D reproductions made possible by new technology soon become fully legal and critically legitimate?</p> By Alexander Provan Sat, 01 Oct 2016 00:00:00 +0100 /files/2016/09/29/img-unknown-makers-1_144431605688.jpg_wide_hthumb.jpg Film: Pornography of Power <p>In her last film project, the late artist Ellen Cantor mixed documentary and soap opera genres to expose the perversity of US support for the Chilean dictator Augusto Pinochet.</p> By David Everitt Howe Sat, 01 Oct 2016 00:00:00 +0100 /files/2016/09/29/img-ellen-cantor-1_170333223504.jpg_wide_hthumb.jpg Up Close: Narrative Painting <p>The representational paintings and drawings of New Orleans artist Willie Birch echo traditional African fractal patterns, reinforcing his solidarity with local &ldquo;bottom up&rdquo; social organizations.</p> By Cameron Shaw Sat, 01 Oct 2016 00:00:00 +0100 /files/2016/09/29/img-willie-birch-1_180238515235.jpg_wide_hthumb.jpg Jared Madere <p>Following a solo presentation at the Whitney Museum of American Art in New York last year, Jared Madere&rsquo;s solo gallery debut comprised a selection of discrete objects and photographs (all but one work 2016) that provided a marked contrast to the large-scale installations that established his reputation as an exciting emerging artist.</p> By Tim Gentles Fri, 30 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-jared-madere_161035484823.jpg_standalone.jpg Domestic Troubles: Dislocation at the Oslo Architecture Triennale <p>&ldquo;After Belonging,&rdquo; the title and theme of the current edition of the Oslo Architecture Triennale, explores contemporary conditions of domestic life, questioning the notion of fixed residence and location-based identities.&nbsp;</p> By Alan G. Brake Fri, 30 Sep 2016 00:00:00 +0100 /files/2016/09/30/img-oslo-architecture-2_144331651516.jpg_wide_hthumb.jpg Forms of Address: Ray Johnson’s Bob Boxes <p>For legendary mail and collage artist Ray Johnson (1927&ndash;1995), any ephemera of everyday material culture he encountered could potentially be art&mdash;including the bottle caps, abandoned toys, tennis balls, fragments of fractured ceramics, stickers, gloves, shells, and lost bathing suits found on his many beach walks.&nbsp;</p> By Sarah Rose Sharp Thu, 29 Sep 2016 13:30:00 +0100 /files/2016/09/29/img-ray-johnson-1_132243571924.jpg_wide_hthumb.jpg Robert Irwin <p>In 1970, Robert Irwin gave up his studio and sold his art supplies. The midcareer painter and sculptor &ldquo;simply stopped being an artist in those senses,&rdquo; as he told Lawrence Weschler for the classic biography&nbsp;<em>Seeing Is Forgetting the Name of the Thing One Sees</em>. Irwin&rsquo;s renunciation of objects was painful&mdash;&ldquo;it was the loss of a way of thinking.&rdquo; But in the late 1960s, it became clear to him that what mattered most were conditions, not objects, and he committed himself solely to making works centered on the light, space, and other qualities of their sites.</p> By Kirsten Swenson Thu, 29 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-robert-irwin_161248399543.jpg_standalone.jpg Stephen Hayes <p>Eighteen landscape paintings (all 2016) made up the exhibition Stephen Hayes called &ldquo;In the Hour Before,&rdquo; most depicting unremarkable terrain.&nbsp;<em>Roseburg (10-1-15)&nbsp;</em>resembles a Daubigny only just begun, with light camouflage colors&mdash;brown, tan, and Army green&mdash;limning a dull country expanse along a featureless road. In<em>Tucson (1-8-11)</em>, several tall spindly palms line an empty street receding diagonally toward the horizon. An outsize stand of shrubbery in the foreground dissolves into a cluster of olive-green brushstrokes loosely applied, while, close by, a melting, indeterminate blue shape bleeds onto a sandy parkway.</p> By Sue Taylor Wed, 28 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-stephen-hayes_161330990592.jpg_standalone.jpg A Crack in the Mirror: On Pushwagner’s Soft City <p>The cult comic&nbsp;<em>Soft City</em>, which will be released in large-format hardcover on October 4th from the comics imprint of the <em>New York Review of Books</em>, has an origin story as strange as its creator.</p> By Hayden Bennett Wed, 28 Sep 2016 00:00:00 +0100 /files/2016/09/27/img-soft-city-2_174443822867.jpg_wide_hthumb.jpg Massimo Bartolini <p>&ldquo;I like the name Golden Square,&rdquo; the Italian artist Massimo Bartolini writes of the Soho, London, square on which Frith Street Gallery&rsquo;s main venue is located. &ldquo;It makes me think of an enchanted place as well as of Malevich straying from the black.&rdquo; His exhibition at the gallery served as a poetic interpretation of Golden Square&rsquo;s history and its place in the popular imagination.&nbsp;</p> By Federico Florian Tue, 27 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-massimo-bartolini_161347131490.jpg_standalone.jpg Rubens Ghenov <p>Rubens Ghenov&rsquo;s paintings employ an abstract visual language of controlled spills, color-gradient shapes, and slender lines to conjure the displays of books, objets d&rsquo;art, and pictures typically found on bookcases in the offices and homes of intellectuals. Where Carol Bove mined post-hippie Northern California with the books, feathers, and rocks in her early shelf-sculptures, Ghenov invokes the cosmopolitan collection of a fictional twentieth-century Spanish poet, Angelico Morand&aacute;, in the recent works (all 2016) he exhibited at Morgan Lehman.</p> By Julian Kreimer Mon, 26 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-rubens-ghenov_160953742618.jpg_standalone.jpg Vlassis Caniaris <p>Vlassis Caniaris was born in Athens in 1928 and died there in 2011. He lived through dramatic moments in Greek history, including, most notably, the 1967&ndash;74 military junta. He studied in his home city before spending time in Rome in the late 1950s, where, influenced by Arte Povera, he started challenging the parameters of figurative painting.&nbsp;</p> By Aoife Rosenmeyer Fri, 23 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-vlassis-caniaris_161441972226.jpg_standalone.jpg Jessi Reaves <p>For this debut solo exhibition, Oregon-born, New York&ndash;based artist Jessi Reaves demonstrated her omnivorous approach to making sculptural furniture, offering viewers&nbsp;an assortment of pieces that incorporate materials ranging from plywood to car parts to yellow upholstery foam to driftwood. Reaves treats furniture making as her primary expression, creating pieces that are, as the late artist Scott Burton once wrote of Brancusi&rsquo;s furniture, &ldquo;not only functional objects but also representations of functional objects.&rdquo;</p> By Eric Sutphin Thu, 22 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-jessi-reaves_160844203335.jpg_standalone.jpg Huang Yong Ping <p>Entering the nave of the Grand Palais&rsquo;s gargantuan 1900 glass-and-steel exposition hall for Huang Yong Ping&rsquo;s site-specific installation&nbsp;<em>Empires</em>, viewers confronted a clifflike, 56-by-197-foot wall of stacked shipping containers, their squarish, outward-facing ends resembling a multicolored pixel pattern. As Pascal Lamy, former director of the World Trade Organization, notes in the exhibition brochure, shipping containers and the Internet are &ldquo;the two engines of globalization.&rdquo;</p> By Richard Vine Wed, 21 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-huang-yong-ping_161408185731.jpg_standalone.jpg Rosalind Nashashibi <p>In Rosalind Nashashibi&rsquo;s eighteen-minute video&nbsp;<em>Electrical Gaza</em>&nbsp;(2015), which was commissioned and originally exhibited by the UK&rsquo;s Imperial War Museums and served as the centerpiece of her recent show at Murray Guy, the English-born, half-Palestinian artist seems intent on contesting dominant representations of the region.&nbsp;</p> By David Markus Tue, 20 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-rosalind-nashashibi_161018604428.jpg_standalone.jpg Astrological Weather Report: Sibyl Kempson at the Whitney <p>Get two rising Aquarians in a room and the conversation doesn't stop flowing. That was the case when I (sun sign Gemini) visited playwright, director and performer Sibyl Kempson (sun sign Leo) in her office at Abrons Arts Center on New York's Lower East Side.&nbsp;Kempson's&nbsp;autumnal equinox ritual, the third event in her three year iterative series, "12 Shouts to the Ten Forgotten Heavens," will take place at 10:21 a.m. this Thursday, September 22, on the front steps of the Whitney Museum.</p> By Wendy Vogel Tue, 20 Sep 2016 00:00:00 +0100 /files/2016/09/20/img-sibyl-kempson_143946178556.jpg_standalone.jpg Alicja Kwade <p>Alicja Kwade&rsquo;s &ldquo;I Rise Again, Changed but the Same,&rdquo; her first exhibition at 303 Gallery, comprised an assortment of formal pairings and doppelg&auml;ngers, with similar objects and materials recurring as the installation unfolded. Dead leaves that flanked the gallery&rsquo;s entrance&mdash;at first seeming simply to have blown in from outside&mdash;were followed by other such piles placed around the perimeter of the main room.</p> By Rachel Wetzler Mon, 19 Sep 2016 00:00:00 +0100 /files/2016/08/17/img-alicja-kwade_160924816507.jpg_standalone.jpg