Art in America - Most Recent The most recent items from Art in America. http://www.artinamericamagazine.com Sat, 06 Feb 2016 23:00:29 +0100 FeedCreator 1.7.2 Mark Bradford http://www.artinamericamagazine.com/reviews/mark-bradford/ <p>Los Angeles-based artist Mark Bradford went to CalArts in the '90s, but he never embraced the kind of anti-aesthetic conceptualism that is the school's signature. Instead, he found success through what he calls "social abstraction," creating dazzling mixed-medium paintings by layering and subsequently excavating paint, paper and detritus sourced from his urban environment.</p> By Wendy Vogel Fri, 05 Feb 2016 00:00:00 +0100 /files/2016/01/27/img-bradford_12154019304.jpg_standalone.jpg Rainbow Brain: The Visual Poetry of Martin Wong http://www.artinamericamagazine.com/news-features/news/rainbow-brain-the-visual-poetry-of-martin-wong/ <p>The revelatory retrospective of Martin Wong at the Bronx Museum&nbsp;focuses on his painting at the expense of his poetry. Language is all over his paintings, from graffiti to inscriptions to sentences spelled out by pudgy hands forming the letters of the American Sign Language alphabet. Wong put little of his own writing in his mature work.&nbsp;"Voices," an exhibition at P.P.O.W Gallery&nbsp;on view through Saturday, makes up for that omission, and offers insights into how the ear and the voice of his later paintings came to be.</p> By Brian Droitcour Fri, 05 Feb 2016 00:00:00 +0100 /files/2016/02/04/img-martin-wong-1_14414246212.jpg_wide_hthumb.jpg Archibald Motley http://www.artinamericamagazine.com/reviews/archibald-motley/ <p>This retrospective of African-American painter Archibald J. Motley Jr. was the first in over 20 years. Motley was one of the greatest painters associated with the Harlem Renaissance, the broad cultural movement that extended far beyond the Manhattan neighborhood for which it was named. Motley was born in New Orleans in 1891, and spent most of his life in Chicago.</p> By Herbert R. Hartel Jr. Thu, 04 Feb 2016 00:00:00 +0100 /files/2016/01/27/img-motley_121529969328.jpg_standalone.jpg Kathryn Andrews http://www.artinamericamagazine.com/reviews/kathryn-andrews/ <p>What are the classificatory criteria we use to distinguish celebrities from politicos, the orbit of Hollywood's heavenly bodies from the operations of elected officials on the ground? Or Ronald Reagan and Arnold Schwarzenegger from Angelyne the L.A. Billboard Queen, all entertainment personalities who made gubernatorial bids in California? Why did only the first two win the vote? Kathryn Andrews's "Run for President" organizes itself around such questions, suggesting that the answers have much to do with the coordinates of race, gender and sexuality on which we map these distinctions and thereby determine legitimacy in the political field.</p> By Mashinka Firunts Wed, 03 Feb 2016 00:00:00 +0100 /files/2016/01/27/img-andrews_121711483213.jpg_standalone.jpg Beyond the F Word: An Interview with Betty Tompkins http://www.artinamericamagazine.com/news-features/interviews/beyond-the-f-word-an-interview-with-betty-tompkins/ <p>Betty Tompkins is no stranger to controversy. The 70-year-old artist started making her "Fuck Paintings"&mdash;large-scale photorealistic renderings of vaginal penetration&mdash;in 1969. Now, several examples from Tompkins's iconic series are on view in <a href="http://www.dallascontemporary.org/current-exhibitions.html">"Black Sheep Feminism: The Art of Sexual Politics"</a> at the Dallas Contemporary.. At New York's FLAG Art Foundation, Tompkins is debuting <a href="http://flagartfoundation.org/exhibitions/women-words-phrases-and-stories/">"WOMEN Words, Phrases and Stories,"</a> a new suite of 1,000 paintings portraying words describing women against stylized backgrounds.</p> By Wendy Vogel Wed, 03 Feb 2016 00:00:00 +0100 /files/2016/02/01/img-betty-tompkins-7_110954249787.jpg_wide_hthumb.jpg Carolee Schneemann http://www.artinamericamagazine.com/reviews/carolee-schneemann-/ <p>Carolee Schneemann (b. 1939) keeps insisting that she is a painter and is even quoted in the catalogue of this retrospective as saying, in 1993, that she will die a painter. Still, when mentioned, she is usually identified as one of the most influential feminist performance artists of her time.</p> By Karin Bellmann Tue, 02 Feb 2016 00:00:00 +0100 /files/2016/01/27/img-schneemann_121821379706.jpg_standalone.jpg Street Life http://www.artinamericamagazine.com/news-features/magazine/street-life/ <p>The Chinese-American artist Martin Wong (1945-1999) celebrated both his cultural heritage and New York's gritty Lower East Side in paintings rife with firemen, convicts, pop icons, graffitied walls and ASL hand signs.</p> By Eleanor Heartney Mon, 01 Feb 2016 00:00:00 +0100 /files/2016/01/29/img-wong-1_142016993674.jpg_wide_hthumb.jpg Diana Thater http://www.artinamericamagazine.com/reviews/diana-thater/ <p>In Diana Thater's survey "The Sympathetic Imagination," organized by the National Gallery's Lynne Cooke and LACMA's Christine Y. Kim and gathering work made between 1992 and the present, the artist floods many of her exhibition spaces with colored light.</p> By Jonathan Griffin Mon, 01 Feb 2016 00:00:00 +0100 /files/2016/01/27/img-thater_121518380324.jpg_standalone.jpg First Look: Sondra Perry http://www.artinamericamagazine.com/news-features/magazine/first-look-sondra-perry/ <p>In a two-channel video installation in MoMA PS1's "Greater New York," Sondra Perry, a Columbia University-trained artist now in residence at the Museum of Fine Arts, Houston, explores domestic rituals&mdash;some traditionally African-American, some newly contrived for the camera&mdash;involving friends and family in Perth Amboy, N.J.</p> By Jessica Lynne Mon, 01 Feb 2016 00:00:00 +0100 /files/2016/01/29/img-sondra-perry_135735379320.jpg_standalone.jpg Atlas Moscow: Refuseniks and Apparatchiks http://www.artinamericamagazine.com/news-features/magazine/atlas-moscow-refuseniks-and-apparatchiks/ <p>Artists' fiercely outrageous, often politically charged public actions galvanized the Russian cultural scene in the 1990s. Today, organizations like the private V-A-C Foundation seek to alter the urban fabric&mdash;both physical and social&mdash;in subtler, more pervasive ways.</p> By Brian Droitcour Mon, 01 Feb 2016 00:00:00 +0100 /files/2016/01/29/img-atlas-moscow-1_140237452865.jpg_wide_hthumb.jpg Between Worlds http://www.artinamericamagazine.com/news-features/magazine/between-worlds/ <p>Painter and sculptor Joaqu&iacute;n Torres-Garc&iacute;a left his native Uruguay for 40 years, absorbing radical new art in Europe and the U.S., before returning home in 1934 to advocate for a School of the South, a distinct Latin American movement.</p> By Stephen Westfall Mon, 01 Feb 2016 00:00:00 +0100 /files/2016/02/04/img-torres-garca-1_11103446190.jpg_wide_hthumb.jpg More than Minimalism: The Algorithmic Turn at the Kitchen http://www.artinamericamagazine.com/news-features/interviews/more-than-minimalism-the-algorithmic-turn-at-the-kitchen/ <p>"From Minimalism into Algorithm," an ambitious program at the Kitchen unfolding over the 2015-16 season, considers the roles of seriality, speculation and networked communication in art from the 1960s to the present. A slate of performances and one exhibition unfolding in three parts consider the past half-century of art through this algorithmic lens.<em style="mso-bidi-font-style: normal;"> A.i.A. </em>spoke to Tim Griffin, the Kitchen's executive director, about the nonprofit's history of showing new-media work, its position as a dialogue generator, the role of corporate aesthetics in this exhibition, and more.</p> By Charles Eppley Mon, 01 Feb 2016 00:00:00 +0100 /files/2016/01/26/img-from-minimalism-into-algorithm-3_162057666944.jpg_wide_hthumb.jpg “Don’t Follow the Wind: Non-Visitor Center” http://www.artinamericamagazine.com/reviews/ldquodonrsquot-follow-the-wind-non-visitor-centerrdquo/ <p>The brainchild of Tokyo-based art troupe Chim-Pom, &ldquo;Don&rsquo;t Follow the Wind&rdquo; is an international group exhibition located inside the Fukushima Exclusion Zone, the roughly 300 square miles of land near the Daiichi Power Plant that the Japanese government has deemed too &ldquo;hot&rdquo; for people to inhabit. Short-term permission to enter the area is granted only to former residents, their guests and certain types of workers.</p> By Ryan Holmberg Fri, 29 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-dont-follow-the-wind-jan-2016-review_172951856224.jpg_standalone.jpg Kerstin Brätsch and Debo Eilers http://www.artinamericamagazine.com/reviews/kerstin-brtsch-and-debo-eilers/ <p>In a funny way, it is often through our relationships with others that we come to know ourselves best. The collaboration of Kerstin Br&auml;tsch and Debo Eilers, two very different artists who have been making work together for over five years, is defined by productive friction.</p> By Boško Blagojević Thu, 28 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-bratsch-and-eilers-jan-2016-review_172816542810.jpg_standalone.jpg Pattern Play: An Interview with Cheryl Donegan http://www.artinamericamagazine.com/news-features/interviews/pattern-play-an-interview-with-cheryl-donegan/ <p>In Cheryl Donegan's New Museum exhibition<em style="mso-bidi-font-style: normal;"> </em><a href="http://www.newmuseum.org/exhibitions/view/cheryl-donegan-scenes-commercials">"Scenes + Commercials"</a>, curators Johanna Burton and Sara O'Keeffe consider the artist's video work and so much more. The show serves as the debut of Donegan's DIY fashion line called EXTRA LAYER, created with Print All Over Me, a virtual design platform. In addition, Donegan is showing her iconic videos alongside lesser-known paintings and drawings.</p> By William J. Simmons Thu, 28 Jan 2016 00:00:00 +0100 /files/2016/01/28/img-cheryl-donegan-new-mu-7_100629543472.jpg_wide_hthumb.jpg Hannah Black http://www.artinamericamagazine.com/reviews/hannah-black/ <p>Hannah Black&rsquo;s practice deals primarily with issues of global capitalism, feminist theory, the body and sociopolitical spaces of control. A graduate of the art writing program at Goldsmiths and the Whitney Independent Study Program, Black underpins her work with rigorous theoretical research.</p> By Hatty Nestor Wed, 27 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-hannah-black-jan-2016-review_17253216827.jpg_standalone.jpg Frank Auerbach http://www.artinamericamagazine.com/reviews/frank-auerbach-1/ <p>The paintings in the first room of Frank Auerbach&rsquo;s Tate Britain retrospective date from the postwar years, yet their glistening surfaces&mdash;almost sculptural in thickness&mdash;look as if they still may not have dried. The accumulation of earthen paint in&nbsp;<em>Building Site, Earls Court Road, Winter</em>&nbsp;(1953) harbors a bleary, benighted image of urban renewal: architectural structures are rendered as mere planes, while the world beyond is evoked by a wedge of gravelly light.</p> By James Cahill Tue, 26 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-frank-auerbach_172410945959.jpg_standalone.jpg Rachel Rose http://www.artinamericamagazine.com/reviews/rachel-rose/ <p>For her solo show &ldquo;Palisades,&rdquo; New York-based Rachel Rose,&nbsp;who is currently exhibiting a video installation at the Whitney Museum, turned the Serpentine Sackler Gallery into an immersive environment dominated by constant visual and auditory stimuli.</p> By Federico Florian Mon, 25 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-rachel-rose-jan-2016-review_172254395686.jpg_standalone.jpg Band of Outsiders: Walking the Outsider Art Fair with Katherine Jentleson http://www.artinamericamagazine.com/news-features/news/band-of-outsiders-walking-the-outsider-art-fair-with-katherine-jentleson/ <p>The <a href="https://www.high.org/">High Museum</a> in Atlanta, where Katherine Jentleson is the curator of folk and self-taught art, has the <a href="http://outsiderartfair.com/fair/1651">Outsider Art Fair</a> to thank for their new hire (she started in September). "I got into this by covering the fair in 2009 when I worked at <em>Art + Auction</em>," Jentleson explained, as she surveyed the layout of the OAF, whose 24th edition (Jan. 21-24) takes over the Metropolitan Pavilion in Chelsea.</p> <p>&nbsp;</p> <p>&nbsp;</p> By Leigh Anne Miller Fri, 22 Jan 2016 15:30:00 +0100 /files/2016/01/22/img-outsider-art-fair-3_141522229776.jpg_wide_hthumb.jpg “Hippie Modernism: The Struggle for Utopia” http://www.artinamericamagazine.com/reviews/ldquohippie-modernism-the-struggle-for-utopiardquo/ <p>The first two words of this exhibition&rsquo;s snappy title seem an unlikely pairing: one is associated with the freewheeling and populist, the other with the formal and elitist. Smartly, sensitively curated by Andrew Blauvelt (the newly appointed director of the Cranbrook Art Museum and former senior curator of design at the Walker), &ldquo;Hippie Modernism&rdquo; rounds up the art, architecture and design&nbsp;of the counterculture from 1964 to 1974.</p> By Lilly Wei Fri, 22 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-hippie-modernism-jan-2016-review_171934498862.jpg_standalone.jpg Evelyn Statsinger http://www.artinamericamagazine.com/reviews/evelyn-statsinger/ <p>Scattered throughout art history are unconventional talents who don&rsquo;t fit easily into standard narratives and categories, and thus don&rsquo;t receive the recognition that they deserve. One such outlier is 88-year-old Chicago artist Evelyn Statsinger, who has had some taste of national attention during her long, still-active career but should be much better known.</p> By Kyle MacMillan Thu, 21 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-statsinger-jan-2016-review_171653755431.jpg_standalone.jpg From the A.i.A. Archives: Representing Race http://www.artinamericamagazine.com/news-features/magazine/from-the-aia-archives-representing-race/ <p style="line-height: 200%;"><em></em></p> <p><em> </em></p> <p>In our September 2011 issue, art historian Sue Taylor tackled the subject of Malvina Hoffman's infamous Field Museum bronzes in a book review of Marianne Kinkel's <em>Races of Mankind: The Sculptures of Malvina Hoffman</em>.</p> By Sue Taylor Thu, 21 Jan 2016 00:00:00 +0100 /files/2016/01/21/img-rep-race1_142417795344.jpg_wide_hthumb.jpg Karl Haendel http://www.artinamericamagazine.com/reviews/karl-haendel/ <p>Los Angeles-based artist Karl Haendel, born in 1976, is part of&nbsp;a generational cohort that breathed new life into 1980s appropriationist strategies in various mediums. His Photo-Realist draftsmanship recalls the technique of fellow Californian Andrea Bowers, while his eye-catching installations evince a showmanship shared by artists like Kelley Walker. Unlike Bowers, however, whose labor-intensive drawings pay faithful homage to her source images (of political protest and leftist movements), Haendel portrays a more ambivalent attitude toward his hand-drawn reproductions&nbsp;of mass-media and personal images.</p> By Wendy Vogel Wed, 20 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-karl-haendel-jan-2016-review_17134563128.jpg_standalone.jpg Maureen Gallace http://www.artinamericamagazine.com/reviews/marueen-gallace/ <p>In comparison with numerous nearby exhibitions featuring sizable, attention-grabbing works, Maureen Gallace&rsquo;s show of 12 small, oil-on-panel landscapes and seascapes was a refreshing, deeply compelling anomaly.</p> By Gregory Volk Tue, 19 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-maureen-gallace-jan-2016-review_171225720780.jpg_standalone.jpg Martha Wilson http://www.artinamericamagazine.com/reviews/martha-wilson-1/ <p>In 1932, the French proto-feminist writer and stage performer Colette wrote of witnessing a woman removing her makeup, &ldquo;I have never felt so much esteem for a woman . . . her face stripped of its secrets, rich with expression, so various beneath its agile wrinkles. . . . Oh, brave fighters!&rdquo; The remark resonates with the work in Martha Wilson&rsquo;s recent exhibition at P.P.O.W., which, among its accomplishments, cleverly confronted society&rsquo;s youth obsession.</p> By Eric Sutphin Fri, 15 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-martha-wilson-jan-2016-review_171112711877.jpg_standalone.jpg &ldquo;Agitprop!&rdquo; at the Brooklyn Museum: Waves of Dissent, Legacies of Change http://www.artinamericamagazine.com/news-features/news/agitprop-at-the-brooklyn-museum-waves-of-dissent-legacies-of-change/ <p>The Brooklyn Museum's <a href="https://www.brooklynmuseum.org/exhibitions/agitprop">"Agitprop!"</a> (through Aug. 7) explores the many ways that artists directly address issues of public concern. Opening last December, works will be added to "Agitprop!" twice in its nine-month run, once in February and again in April, to reflect how multiple generations of artists have tackled the same concerns over time.</p> By Risa Puleo Fri, 15 Jan 2016 00:00:00 +0100 /files/2016/01/13/img-agitprop-3_161222466045.jpg_wide_hthumb.jpg Tamuna Sirbiladze http://www.artinamericamagazine.com/reviews/tamuna-sirbiladze/ <p>Tamuna Sirbiladze&rsquo;s oilstick and pastel works give an impression of movement first and a vague sense of representation second. Six such pieces from 2015, all done on unprimed canvas and all but one sharing the same large dimensions (76&frac34;&nbsp;by 114 inches), made up her clean and orderly show. Thanks to the focused selection and an even installation, the works projected their energetic content clearly and forcefully into the room.</p> By Iona Whittaker Thu, 14 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-sirbiladze-jan-2016-review_170959144359.jpg_standalone.jpg Joan Linder http://www.artinamericamagazine.com/reviews/joan-linder/ <p>Joan Linder&rsquo;s exhibition &ldquo;Project Sunshine&rdquo; centered on the notorious environmental disaster, one of the worst in U.S. history, known as Love Canal. Conceived by the 19th-century industrialist William T. Love, Love Canal was supposed to be a &ldquo;model city&rdquo;&nbsp;in Niagara Falls, N.Y., but by the 1920s funds were gone and it was abandoned.</p> By Jane Ursula Harris Wed, 13 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-linder-jan-2016-review_170530770610.jpg_standalone.jpg Max Ernst http://www.artinamericamagazine.com/reviews/max-ernst/ <p>A Dada pioneer and one of the most influential Surrealist painters, Max Ernst was not well recognized as a sculptor until late in his career, in the 1960s. Ernst (1891-1976) contributed to 20th-century painting a formidable array of technical innovations&nbsp;in collage, frottage, decalcomania and other procedures.</p> By David Ebony Wed, 13 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-ernst-jan-2016-review_170640217837.jpg_standalone.jpg Corinne Wasmuht http://www.artinamericamagazine.com/reviews/corinne-wasmuht/ <p>Anyone actively participating in contemporary urban life across the globe would feel a sense of d&eacute;j&agrave; vu looking at the high-velocity, fragmented cityscapes and architectural spaces in Corinne Wasmuht&rsquo;s luminous, often panoramic paintings.</p> By Hilarie M. Sheets Tue, 12 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-wasmuht-jan-2016-review_170415555176.jpg_standalone.jpg Vincent Fremont Named CEO of ARTnews, Ltd. http://www.artinamericamagazine.com/news-features/news/vincent-fremont-named-ceo-of-artnews-ltd/ <p>Vincent Fremont, a cofounder of the Andy Warhol Foundation, has been named CEO of ARTnews Ltd., the parent company of this magazine.</p> By A.i.A. Editors Tue, 12 Jan 2016 00:00:00 +0100 /files/2016/01/12/img-vincent-fremont_112729963813.jpg_standalone.jpg Maria Guzmán Capron http://www.artinamericamagazine.com/reviews/maria-guzmn-capron/ <p>Cyndi Lauper&rsquo;s 1984 hit &ldquo;She Bop&rdquo; became infamous when the Parent Music Resource Center included it on its &ldquo;Filthy Fifteen&rdquo; list of sexually explicit pop songs, for its not-so-veiled lyrical allusions&nbsp;to masturbation (&ldquo;go south,&rdquo; &ldquo;the danger zone&rdquo; and &ldquo;I&rsquo;m picking up good vibration&rdquo; among them).</p> By Matt Sussman Mon, 11 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-maria-guzman-capron-jan-2016-review_172049409136.jpg_standalone.jpg “Rum, Sodomy and the Lash” http://www.artinamericamagazine.com/reviews/ldquorum-sodomy-and-the-lashrdquo/ <p>&ldquo;Rum, sodomy, and the lash&rdquo; is an aggressive exhibition, as suggested by its title, which was taken from a quote often (mistakenly?) attributed to Winston Churchill as a characterization of the naval tradition. In the mid-1980s, the Pogues would adapt it as the title of their second album.</p> By Travis Jeppesen Mon, 11 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-rum-sodomy-and-the-lash-jan-2016-review_172659560428.jpg_standalone.jpg Zhang Hongtu http://www.artinamericamagazine.com/reviews/zhang-hongtu/ <p>It is ironic yet unsurprising that politicians in both China and the U.S. have censored Zhang Hongtu&rsquo;s paintings. Ironic because there are not many artists more dedicated to merging the cultural&nbsp;traditions of the East and the West, and unsurprising because Zhang&rsquo;s work often wryly undermines authority.</p> By Charles M. Schultz Fri, 08 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-zhang-jan-2016-review_17024942319.jpg_standalone.jpg Robert Berlind (1938-2015) http://www.artinamericamagazine.com/news-features/news/robert-berlind-1938-2015/ <p>Painter and longtime <em>Art in America </em>contributor Robert Berlind died on December 17, 2015. He was 77. Throughout his 50-year career, Berlind produced an expansive body of work, mostly landscapes rooted in observation and memory.</p> By Julia Wolkoff Fri, 08 Jan 2016 00:00:00 +0100 /files/2016/01/08/img-berlind1_110138229124.jpg_wide_hthumb.jpg Deana Lawson http://www.artinamericamagazine.com/reviews/deana-lawson/ <p>A selection of 16 ambitious works by the New York-based photographer Deana Lawson inaugurates the Ruttenberg Contemporary Photography Series, a new biennial program. Perhaps the most arresting work in this showcase is the portrait&nbsp;<em>As Above, So Below, Port-au-Prince, Haiti</em>&nbsp;(2013).</p> By Lauren DeLand Thu, 07 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-deana-lawson_171759189627.jpg_standalone.jpg Lookout Highlights of 2015 http://www.artinamericamagazine.com/news-features/news/lookout-highlights-of-2015/ <p>Every Thursday, <em>A.i.A. </em>editors compile <a href="http://www.artinamericamagazine.com/exhibitions">The Lookout</a>, a series of microreviews of compelling exhibitions on view in New York. As a complement to our popular Best of 2015 series, contributed by art luminaries in <a href="http://www.artinamericamagazine.com/news-features/news/best-of-new-york-2015/">New York</a>, <a href="http://www.artinamericamagazine.com/news-features/news/best-of-2015-los-angeles/">Los Angeles</a>, <a href="http://www.artinamericamagazine.com/news-features/news/best-of-2015-chicago/">Chicago</a>, <a href="http://www.artinamericamagazine.com/news-features/news/best-of-houston-2015/">Houston</a>, <a href="http://www.artinamericamagazine.com/news-features/news/best-of-london-2015/">London</a> and <a href="http://www.artinamericamagazine.com/news-features/news/best-of-japan-2015/">Japan</a>, we're presenting ten Lookout highlights of the past year in chronological order. Here's to an art-filled 2016!</p> By A.i.A. Editors Thu, 07 Jan 2016 00:00:00 +0100 /files/2014/12/17/img-kerstin-bratsch-forever-now-lookout_16312957356.jpg_wide_hthumb.jpg Squeak Carnwath http://www.artinamericamagazine.com/reviews/squeak-carnwath/ <p>Squeak Carnwath&rsquo;s first New York exhibition in over a decade was tightly packed with paintings, sculptures and works on paper from the 1990s to the present. The earliest piece on view was the painting&nbsp;<em>Things Green&nbsp;</em>(1995). Designed as a giant chart, it presents a list of nouns floating in a field of bright green above a 12-by-21-unit grid, each cell containing a number and a dab of paint.</p> By Tatiana Istomina Wed, 06 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-carnwath-jan-2016-review_170819893593.jpg_standalone.jpg Alberto Burri http://www.artinamericamagazine.com/reviews/alberto-burri/ <p>A friend recently told me about a time he went hiking up a mountain in the Northeast, young and on LSD. At a certain point near the top, he said, he lay facedown on a broad rock, his body feeling translucent like a newborn amphibian, and became &ldquo;one&rdquo; with it. Completely unable to move, he lay merged with hundreds of millions of years of sediment, looking through plane upon plane into the center.</p> By Rosy Keyser Tue, 05 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-burri-jan-2016-review_171518319054.jpg_standalone.jpg “Greater New York” http://www.artinamericamagazine.com/reviews/greater-new-york-1/ <p>Returning to "Greater New York" a few days after the Paris attacks, I found myself moved by the main themes underlying the exhibition: our city in particular and urban life in general; and the emergence of queer culture, shown to have percolated steadily in New York over the past quarter century&mdash;and arguably yielding one of contemporary Western civilization&rsquo;s brighter achievements.</p> By Faye Hirsch Mon, 04 Jan 2016 00:00:00 +0100 /files/2015/12/08/img-greater-new-york-jan-2016-review_173100969185.jpg_standalone.jpg