Art in America - Most Recent The most recent items from Art in America. http://www.artinamericamagazine.com Mon, 30 May 2016 21:59:58 +0100 FeedCreator 1.7.2 Tala Madani http://www.artinamericamagazine.com/reviews/tala-madani-1/ <p>Painter Tala Madani&rsquo;s show in St. Louis provided a concise primer on her work, featuring her hallmark subject: men, nude or almost so, perhaps Middle Eastern and probably middle-aged, in situations both abject and humorous.</p> By Gavin Kroeber Fri, 27 May 2016 00:00:00 +0100 /files/2016/04/21/img-tala-madani_135049939323.jpg_standalone.jpg Company News http://www.artinamericamagazine.com/news-features/news/company-news/ <p>Today our parent company announced a shift in ownership. Brant Publications has assumed&nbsp;full control of the assets of Artnews S.A., including the magazine titles&nbsp;<em><em>Art in America</em></em>, <em><em>Modern</em></em>, <em><em>Antiques</em></em>, and <em><em>ARTnews</em></em>.<strong></strong><em></em></p> By The Editors Fri, 27 May 2016 00:00:00 +0100 /cms/app/asset/action.php?a=createImage&id=29927&size_suffix=standalone Larry Bamburg http://www.artinamericamagazine.com/reviews/larry-bamburg/ <p>A saccharine, minty scent greeted visitors to Larry Bamburg&rsquo;s solo exhibition. It emanated from three large, weighty, pastel-colored forms standing on the floor, two centrally placed so that viewers could walk around them, and one positioned to the left against the wall. These sculptures, from Bamburg&rsquo;s &ldquo;TalctoTile&rdquo; series (all works 2016), were composed by stacking four-inch-thick layers of bathroom tiles (some oriented frontally, as on a wall, and some side-on) and handmade soap.</p> By Iona Whittaker Thu, 26 May 2016 00:00:00 +0100 /files/2016/04/21/img-larry-bamburg_1339553098.jpg_standalone.jpg Sanford Biggers http://www.artinamericamagazine.com/reviews/sanford-biggers-1/ <p>The historical relationship between the Western avant-garde and the art of Africa is one of objects stolen, fetishized, and aesthetically cannibalized by European modernists like Picasso and Modigliani. Paradigmatic histories of Western art attempt to keep these tensions at a low simmer; in the nine works comprising Harlem-based artist Sanford Biggers&rsquo;s exhibition &ldquo;the pasts they brought with them&rdquo; (all 2015 or 2016),<strong>&nbsp;</strong>they rise to a boil.&nbsp;</p> By Lauren DeLand Wed, 25 May 2016 00:00:00 +0100 /files/2016/04/21/img-sanford-biggers_134731140866.jpg_standalone.jpg Everyday Cinderella: “Manus x Machina” with K8 Hardy http://www.artinamericamagazine.com/news-features/interviews/everyday-cinderella-ldquomanus-x-machinardquo-with-k8-hardy/ <p>&ldquo;How many slaves did it take to make that?&rdquo; It was a Wednesday afternoon in early May, and K8 Hardy and I had just entered &ldquo;Manus x Machina: Fashion in an Age of Technology&rdquo; at the Metropolitan Museum of Art in New York (on view through Aug. 14).</p> By Julia Wolkoff Wed, 25 May 2016 00:00:00 +0100 /files/2016/05/24/img-manus-1_122231271311.jpg_wide_hthumb.jpg Regina José Galindo http://www.artinamericamagazine.com/reviews/regina-jos-galindo-1/ <p>A soldier inserts his gun into the vagina of a pregnant woman and pulls the trigger. Pieces of the dead fetus fall out of her womb. The head of a man who has just been decapitated is then shoved up her vagina. Another woman&rsquo;s breasts are cut off with a knife; she is hung by her neck, bleeding out, like an animal in a slaughterhouse. A mother watches as her twelve-year-old daughter, crying out for help, is brutally gang raped by a group of soldiers on her bed.</p> By Travis Jeppesen Tue, 24 May 2016 00:00:00 +0100 /files/2016/04/21/img-regina-jos-galindo_140032861427.jpg_standalone.jpg Lynn Umlauf http://www.artinamericamagazine.com/reviews/lynn-umlauf/ <p>In the late 1970s, Lynn Umlauf was making low-relief paintings&mdash;on paper adhered to unstretched canvas&mdash;in which biomorphic&nbsp;shapes curled slightly off the wall. In the 1980s and &rsquo;90s she ran with this sculptural implication, making 3-D paintings such as acrylic-encrusted loops of galvanized wire mesh that lie or hang curled over themselves.</p> By Brooks Adams Mon, 23 May 2016 00:00:00 +0100 /files/2016/04/21/img-lynn-umlauf_133650770704.jpg_standalone.jpg Park McArthur http://www.artinamericamagazine.com/reviews/park-mcarthur/ <p>In a recent talk at Tate Modern, New York&ndash;based artist Park McArthur recounted how Virgin Trains had given her two five-pound vouchers as compensation for a delayed journey from Glasgow caused by someone throwing themselves onto the tracks. This happened before McArthur&rsquo;s first solo exhibition in Britain, &ldquo;Poly&rdquo; at Chisenhale Gallery.</p> By Elizabeth Fullerton Fri, 20 May 2016 00:00:00 +0100 /files/2016/04/21/img-park-mcarthur_135754248835.jpg_standalone.jpg “Language of the Birds: Occult and Art” http://www.artinamericamagazine.com/reviews/ldquolanguage-of-the-birds-occult-and-artrdquo/ <p>Magic makes theater of the most banal objects: a wooden board is used to contact the dead, a discarded possession becomes the conduit for a hex. One challenge for &ldquo;Language of the Birds,&rdquo; a survey of works by several dozen creators who seem to gesture toward sorcery, was showing<strong>&nbsp;</strong>such pieces in the white-box spaces of New York University&rsquo;s 80WSE gallery.</p> By Chris Randle Thu, 19 May 2016 00:00:00 +0100 /files/2016/04/21/img-language-of-the-birds_133553261576.jpg_standalone.jpg Technically Funny: Ben Jones on Television http://www.artinamericamagazine.com/news-features/news/technically-funny-ben-jones-on-television/ <p>All of the art collectives Ben Jones has been involved in&mdash;most visibly Paper Radio&nbsp;with Christopher Forgues and Paper Rad with Jacob and Jessica Ciocci&mdash;have been characterized by a weird mix of punk sloppiness and obsessive attention to detail: their cartoons, drawings, and animations feature bright primary colors, geometric shapes, and characters so densely layered on the page that it&rsquo;s often difficult for the eyes to adjust.</p> By Steven Zultanski Thu, 19 May 2016 00:00:00 +0100 /files/2016/05/18/img-ben-jones-1_112834553169.png_wide_hthumb.jpg Comics in America: A Panel at Frieze Art Fair http://www.artinamericamagazine.com/news-features/news/comics-in-america-a-panel-at-frieze-art-fair/ <p>At the 2016 Frieze Art Fair in New York, Nadel and Worth joined&nbsp;<em>A.i.A.</em>&nbsp;editor Julia Wolkoff in a conversation about the intriguing complexity of comics, a format where virtuosic draftsmanship can be fostered under deadline pressure, and expressions of personal identity and political belief can meld with longstanding generic conventions.</p> By Julia Wolkoff Thu, 19 May 2016 00:00:00 +0100 /files/2016/05/18/img-comics-in-america-2_13001244393.jpg_standalone.jpg “Monster Roster: Existentialist Art in Postwar Chicago” http://www.artinamericamagazine.com/reviews/ldquomonster-roster-existentialist-art-in-postwar-chicagordquo/ <p>The first work displayed in the landmark &ldquo;Monster Roster&rdquo; exhibition at the University of Chicago&rsquo;s Smart Museum of Art is Leon Golub&rsquo;s four-foot-square lacquer-on-masonite&nbsp;<em>Siamese Sphinx II</em>&nbsp;(1955). Depicting a mythological two-headed creature against an abraded, rust-colored background, it is a dark, forbidding, and&mdash;yes&mdash;monstrous painting that sets the tone for all that follows.</p> By Kyle MacMillan Wed, 18 May 2016 00:00:00 +0100 /files/2016/04/21/img-monster-roster-1_134405983304.jpg_wide_hthumb.jpg Chosen Family: Gerard & Kelly at the Glass House http://www.artinamericamagazine.com/news-features/news/chosen-family-gerard-kelly-at-the-glass-house/ <p>&ldquo;The family is a system of regeneration,&rdquo; chanted a group of dancers, huddled on the lawn next to Philip Johnson&rsquo;s modernist Glass House, toward the end of Gerard &amp; Kelly's <em>Modern Living</em>. Performed last weekend on the grounds of Johnson&rsquo;s estate in New Canaan, Connecticut, the 90-minute dance piece is Brennan Gerard and Ryan Kelly&rsquo;s most ambitious work to date on the subject of queer intimacy.</p> <p><em></em></p> By Wendy Vogel Wed, 18 May 2016 00:00:00 +0100 /files/2016/05/17/img-gerard-kelly_170234745362.jpg_standalone.jpg Coco Fusco http://www.artinamericamagazine.com/reviews/coco-fusco/ <p>After Fidel Castro&rsquo;s Communist government imprisoned Cuban poet Heberto Padilla in March 1971 on ambiguous charges, intellectuals around the world&mdash;many of them ardent supporters of Cuba&rsquo;s revolution&mdash;expressed their dismay in an open letter published in France&rsquo;s&nbsp;<em>Le Monde</em>. Cuban authorities responded by labeling these authors traitors and banning the distribution of their books on the island.</p> By David Markus Tue, 17 May 2016 00:00:00 +0100 /files/2016/04/21/img-coco-fusco_133417981791.jpg_standalone.jpg Local Largesse: Collected in San Francisco http://www.artinamericamagazine.com/news-features/news/local-largesse-collected-in-san-francisco/ <p>Over the weekend, Bay Area residents got a first look inside a $305-million addition to the San Francisco Museum of Modern Art (SFMOMA). The new ten-story building, clad with a rippling, glacier-like facade and designed by the Norwegian firm Sn&oslash;hetta, occupies a narrow urban lot adjacent to the museum&rsquo;s 1995 brick building by Swiss architect Mario Botta.&nbsp;</p> By Lindsay Pollock Tue, 17 May 2016 00:00:00 +0100 /files/2016/05/17/img-sfmoma-3_123053208355.jpg_wide_hthumb.jpg Channa Horwitz http://www.artinamericamagazine.com/reviews/channa-horwitz/ <p>As a student at the California Institute of the Arts, Valencia, in the late 1960s, Channa Horwitz (1932&ndash;2013) developed a graphing system that she would use for over four decades, producing some fifteen hundred pieces of ephemera and finished works (with more waiting to be organized and archived). In a 1974 interview, she told the&nbsp;<em>Los Angeles Institute of Contemporary Art Journal</em>: &ldquo;I am interested in simplifying my tools in order to maximize the potential of the work.&rdquo;</p> By Jennifer S. Li Mon, 16 May 2016 00:00:00 +0100 /files/2016/04/21/img-channa-horwitz_135208419329.jpg_standalone.jpg Jonathan Lasker http://www.artinamericamagazine.com/reviews/jonathan-lasker/ <p>The thirteen oil paintings and four graphite-and-India-ink sketches in Jonathan Lasker&rsquo;s show&mdash;all made in the last three years&mdash;add up to a confident body of work. They resulted from a process that has served the artist well since the 1980s.<strong>&nbsp;</strong>He begins with a loose improvisatory sketch, and then scales it up freehand in paint.&nbsp;</p> By Charles M. Schultz Fri, 13 May 2016 00:00:00 +0100 /files/2016/04/21/img-jonathan-lasker_133316786655.jpg_standalone.jpg Writing on the Wall: William Kentridge in Rome http://www.artinamericamagazine.com/news-features/news/writing-on-the-wall-william-kentridge-in-rome/ <p>Rome has&nbsp;been waiting for&nbsp;contemporary&nbsp;works of public art that can stand up to&nbsp;the historic city&rsquo;s glorious monuments from the Renaissance and antiquity. Where the architects Richard Meier and Zaha Hadid tried, and failed in the opinion of many, with&nbsp;their&nbsp;new freestanding buildings,&nbsp;South African artist William Kentridge has now succeeded with&nbsp;<em>Triumphs and Laments: A Project for Rome</em>,&nbsp;his grand frieze along the Tiber embankment, which&nbsp;debuted&nbsp;April 21 with a concert by Kentridge and composer Philip Miller, his longtime collaborator.<strong></strong><em></em></p> By Diana Ketcham Fri, 13 May 2016 00:00:00 +0100 /files/2016/05/13/img-kentridge-rome-1_113434172534.jpg_wide_hthumb.jpg Lena Henke http://www.artinamericamagazine.com/reviews/lena-henke/ <p>During his long tenure, New York urban planner Robert Moses built 658 parks and playgrounds; 416 miles of roads, parkways, and expressways; and thirteen bridges. He brokered construction deals for the United Nations. He cleared slums and built new ones in their place. He is the reason the public can access Long Island&rsquo;s shoreline, and the reason that its residential areas were systematically segregated.</p> By Sam Korman Thu, 12 May 2016 00:00:00 +0100 /files/2016/04/21/img-lena-henke_134114963603.jpg_standalone.jpg “Architecture of Life” http://www.artinamericamagazine.com/reviews/ldquoarchitecture-of-liferdquo/ <p>The question of what a particular museum aims to be is, today, so often preceded by the question of who&rsquo;s behind its design. The recent construction boom among major American art institutions has resulted in the same kind of name-dropping that typically accompanies an Academy Awards red carpet.</p> By Matt Sussman Wed, 11 May 2016 00:00:00 +0100 /files/2016/04/21/img-architecture-of-life-1_135308278215.jpg_wide_hthumb.jpg Ana Mendieta http://www.artinamericamagazine.com/reviews/ana-mendieta/ <p>Ana Mendieta is best known for photographs, prints, and paintings that document performances involving her body and nature, but she was also a prolific film and video artist. During her lifetime, tragically cut short at the age of thirty-six, Mendieta produced more than one hundred films and videos. These works were recently digitized and fifteen were included in an exhibition at Galerie Lelong, nine of them having never been shown before.</p> By Max Rosenberg Tue, 10 May 2016 00:00:00 +0100 /files/2016/04/21/img-ana-mendieta_133155117678.jpg_standalone.jpg Heidi Hahn http://www.artinamericamagazine.com/reviews/heidi-hahn/ <p>The women who inhabit the nine vibrant, introspective paintings (all 2015 or 2016) in Heidi Hahn&rsquo;s exhibition &ldquo;Bent Idle&rdquo; embody an array of emotions, their demeanors both infectious and startling. In<em>&nbsp;I Had a Dream of Being Seen and It Looked Like You</em>, an exuberant figure raises her arms in the air. To her right, another woman, with a look of cautious artistic pride, holds up a small painted portrait of her companion&mdash;a blobby rendering.&nbsp;</p> By Julia Wolkoff Mon, 09 May 2016 00:00:00 +0100 /files/2016/04/21/img-heidi-hahn_133836996678.jpg_standalone.jpg Hilma af Klint http://www.artinamericamagazine.com/reviews/hilma-af-klint/ <p>Hilma af Klint (1862&ndash;1944) was a pioneering abstractionist&mdash;that, essentially, is how the Serpentine frames the artist for its current survey of her work, &ldquo;Painting the Unseen.&rdquo; Certainly, the five-room exhibition&mdash;curated by Daniel Birnbaum (who also organized the Moderna Museet&rsquo;s recent touring retrospective of her work) and Emma Enderby&mdash;features paintings by the Swedish artist that predate the first abstract experiments by the likes of Kandinsky or Mondrian by several years.</p> By Gabriel Coxhead Fri, 06 May 2016 00:00:00 +0100 /files/2016/04/21/img-hilma-af-klint_13570448284.jpg_standalone.jpg Against the Widening Gulf: Arab Art in Tehran http://www.artinamericamagazine.com/news-features/news/against-the-widening-gulf-arab-art-in-tehran/ <p>Mohsen Gallery has taken up the historic task of introducing contemporary Arab art to Iran with &ldquo;Spheres of Influence,&rdquo; a group show organized by New York-based curator Lila Nazemian, on view through May 11. It seems hard to believe that works by Arab artists haven&rsquo;t appeared in Tehran before&mdash;especially when the United Arab Emirates serves as the primary clearinghouse for Iranian art&mdash;until you consider just how heavily domestic their scene has been in the last century. <strong></strong><em></em></p> By Rahel Aima Fri, 06 May 2016 00:00:00 +0100 Otto Piene http://www.artinamericamagazine.com/reviews/otto-piene/ <p>While works by German-born Otto Piene (1928&ndash;2014), a pioneer of process art, have been on view lately in gallery and museum shows devoted to the Zero group, the short-lived avant-garde movement he cofounded in Germany in the late 1950s, Sperone Westwater&rsquo;s &ldquo;Otto Piene: Sundew and Selected Works 1957&ndash;2014&rdquo; was the artist&rsquo;s first posthumous exhibition in New York.</p> By David Ebony Thu, 05 May 2016 00:00:00 +0100 /files/2016/04/21/img-otto-piene_133014238759.jpg_standalone.jpg Coming Up Roses: Alex Da Corte at MASS MoCA http://www.artinamericamagazine.com/news-features/news/coming-up-roses-alex-da-corte-at-mass-moca/ <p>Alex Da Corte adapts his work to the environments where he exhibits it, developing total installations that respond to the spirit and space of the venue. For &ldquo;Free Roses,&rdquo; his first museum survey, the Philadelphia-based artist has absorbed the atmosphere of the Massachusetts Museum of Contemporary Art (MASS MoCA) and transformed it turn.</p> By Brian Droitcour Thu, 05 May 2016 00:00:00 +0100 /files/2016/05/03/img-da-corte-1_171601901914.jpg_wide_hthumb.jpg Ulla von Brandenburg http://www.artinamericamagazine.com/reviews/ulla-von-brandenburg/ <p>German artist Ulla von Brandenburg&rsquo;s work investigates theatrical devices, finding form in performance, film, installation, sculpture, and paintings (on canvas and on the wall). Her exhibition &ldquo;Manchmal Ja, Manchmal Nein&rdquo; (Sometimes Yes, Sometimes No), at Haus Konstruktiv, opens by thwarting the viewer&rsquo;s passage. In the first gallery, heavy drapes hang from the ceiling onto a low stage that nearly fills the room.</p> By Aoife Rosenmeyer Wed, 04 May 2016 00:00:00 +0100 /files/2016/04/21/img-ulla-von-brandenburg_135908644204.jpg_standalone.jpg Carrie Moyer http://www.artinamericamagazine.com/reviews/carrie-moyer-1/ <p>Mythical sirens lure listeners to their enslavement and eventual death with songs of irresistible beauty. As the title of a recent solo show by Carrie Moyer, an artist with queer activist roots, &ldquo;Sirens&rdquo; suggested the threat lurking behind beauty, though the new works on view (all 2015 or 2016) felt less tightly coiled than her previous efforts.</p> By Julian Kreimer Tue, 03 May 2016 00:00:00 +0100 /files/2016/04/21/img-carrie-moyer_132727985782.jpg_standalone.jpg Overview: In The Aftermath http://www.artinamericamagazine.com/reviews/overview-in-the-aftermath/ <p>The fifth anniversary of the Great East Japan&nbsp;Earthquake, on March 11, and the subsequent tsunami and Fukushima nuclear meltdown has come and gone as I write this. It was a full-time job running around Tokyo and its environs to catch the many exhibitions, film screenings, and talks held in commemoration.</p> By Ryan Holmberg Mon, 02 May 2016 00:00:00 +0100 /files/2016/04/21/img-overview-japan-1_110843571834.jpg_wide_hthumb.jpg Punk and Hippie http://www.artinamericamagazine.com/news-features/magazine/punk-and-hippie/ <p>The Paper Radio duo of Benjamin Jones and&nbsp;Christopher Forgues, with their DIY aesthetic and countercultural convictions&mdash;sometimes aggressive, sometimes mellow&mdash;helped transform alternative comics in the first years of the twenty-first century.</p> By Dan Nadel Sun, 01 May 2016 00:00:00 +0100 /files/2016/04/20/img-paper-rad-1_161204504432.jpg_wide_hthumb.jpg In the Studio: Dara Birnbaum http://www.artinamericamagazine.com/news-features/magazine/in-the-studio-dara-birnbaum/ <p>With a long-awaited installation opening this month in Paris, pioneer video artist Dara Birnbaum discusses radical changes in technology and mass-media strategies, her own collaborative editing process, and her ongoing drive to meld personal and political concerns in her art.</p> By Lauren Cornell Sun, 01 May 2016 00:00:00 +0100 /files/2016/04/20/img-birnbaum-1_164533772194.jpg_wide_hthumb.jpg Muse: Life Before (and After) (and During) the Digital Revolution http://www.artinamericamagazine.com/news-features/magazine/muse-life-before-and-after-and-during-the-digital-revolution/ <p>Casting a dubious eye on the new &ldquo;tyranny of gadgets,&rdquo; artist John Miller recalls a pre-digital childhood and his lifelong quest to make time blissfully his own again.</p> By John Miller Sun, 01 May 2016 00:00:00 +0100 /files/2016/04/20/img-muse-miller-1_153717659958.jpg_wide_hthumb.jpg Mechanical Glamour http://www.artinamericamagazine.com/news-features/magazine/mechanical-glamour/ <p>As the Met&rsquo;s Costume Institute opens an exhibition about the interplay between handmade and mass-produced fashion, Leonardo da Vinci&rsquo;s sketch for a sequin-making machine evokes a longer historical view of the topic.</p> By Emily Spivack Sun, 01 May 2016 00:00:00 +0100 /files/2016/04/28/img-sequin-machines-1_142100743812.jpg_wide_hthumb.jpg Up Close: Houston Loves Eccentrics http://www.artinamericamagazine.com/news-features/magazine/up-close-houston-loves-eccentrics/ <p>Former East Coast curator Bill Arning finds his adopted Houston surprisingly receptive to artistic oddballs and bold exhibitions in its burgeoning museums and galleries.</p> By Bill Arning Sun, 01 May 2016 00:00:00 +0100 /files/2016/05/23/img-houston-arning-1_1638396237.jpg_wide_hthumb.jpg Alex Bag http://www.artinamericamagazine.com/reviews/alex-bag/ <p>&ldquo;Why buy art when you can buy the artist?&rdquo; wonders Leroy LeLoup, the main character in Alex Bag&rsquo;s&nbsp;<em>The Van (Redux)*</em>, 2015. LeLoup, played by Bag&rsquo;s brother Damien, first appeared in Bag&rsquo;s 2001 video&nbsp;<em>Untitled (The Van)</em>. He is an art dealer whose MO is to troll kindergarten classrooms in search of the &ldquo;the weirdos, the loners&rdquo; whom he can mold into commercially successful artists.&nbsp;</p> By Eric Sutphin Fri, 29 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-alex-bag_112647582768.jpg_standalone.jpg Penelope Umbrico http://www.artinamericamagazine.com/reviews/penelope-umbrico-1/ <p>Penelope Umbrico is a hunter-gatherer-aggregator whose works are based on the repetition inherent in our collective practices of image-making. In perhaps her best-known piece,&nbsp;<em>Suns (from Sunsets)</em>, ongoing from 2006, she arrays hundreds of thousands of sunset pictures from Flickr as traditional 4-by-6-inch snapshots in wall-size grids. The work points to the banality of the subject (everyone photographs sunsets) and also to the shared humanity underlying the subject (everyone photographs sunsets).&nbsp;</p> By Jean Dykstra Fri, 29 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-penelope-umbrico_11280824823.jpg_standalone.jpg Less Like Art: Seth Price as Author http://www.artinamericamagazine.com/news-features/news/less-like-art-seth-price-as-author/ <p>For a moment, Seth Price dropped out of the art world. In the summer of 2013, he stopped producing new work, laid off his assistants, canceled his upcoming exhibitions, and requested that online magazines remove articles written about him. He did all of this to begin a new career as a writer.</p> By Ross Simonini Fri, 29 Apr 2016 00:00:00 +0100 /cms/app/asset/action.php?a=createImage&id=29690&size_suffix=standalone Mernet Larsen http://www.artinamericamagazine.com/reviews/mernet-larsen/ <p>Mernet Larsen makes precise, quirky paintings depicting the seemingly unpromising banalities of everyday, middle-class life. Faculty meetings, drinks at a caf&eacute;, a family snack, reading in bed: all are enacted by boxy figures seen in reverse perspective, shrinking as they approach the picture plane. Larsen&rsquo;s unique pictorial idiom&mdash;echoing the dynamic geometry of El Lissitzky&rsquo;s Constructivist compositions and the clunky polygons of early computer graphics&mdash;is almost always animated by a narrative force, however slight.</p> By Julian Kreimer Thu, 28 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-mernet-larsen_112741743652.jpg_standalone.jpg Sorayama Hajime http://www.artinamericamagazine.com/reviews/sorayama-hajime/ <p>Between Pop art and Takashi Murakami&rsquo;s Superflat lies a minefield of bad taste, a universe of objectified femininity and commodified childhood, endless poop and booby jokes, frivolous consumerism and comics that border on child porn. In the &rsquo;90s, that morass was sanitized and repackaged as contemporary Japanese art.&nbsp;</p> By Ryan Holmberg Wed, 27 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-sorayama-hajime_11325099522.jpg_standalone.jpg Cameron Rowland http://www.artinamericamagazine.com/reviews/cameron-rowland/ <p>Cameron Rowland&rsquo;s work combines research and strategic contractual agreements with the presentation of objects selected for their socially illuminating value. His exhibition at Artists Space, &ldquo;91020000,&rdquo; comprised a selection of new works (all 2016) that served as a multilayered genealogical investigation into slavery and its ties to economic development and mass incarceration in the United States.</p> By David Markus Tue, 26 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-cameron-rowland_112709600173.jpg_standalone.jpg