Art in America - Most Recent The most recent items from Art in America. http://www.artinamericamagazine.com Thu, 14 Dec 2017 14:07:42 +0100 FeedCreator 1.7.2 Anna Maria Maiolino http://www.artinamericamagazine.com/reviews/anna-maria-maiolino/ <p>Mouths and digestive systems are recurrent motifs in Maiolino&rsquo;s work, and might refer, in part, to Oswald de Andrade&rsquo;s influential&nbsp;<em>Cannibalist Manifesto</em>&nbsp;(1928), wherein the poet wittily described Brazil&rsquo;s consumption and creative regurgitation of other cultures as a national strength and a means of producing a modern, independent country.&nbsp;</p> By Jennifer S. Li Mon, 01 Jan 2018 00:00:00 +0100 /files/2017/12/11/img-maiolino_114135109529.jpg_standalone.jpg Possible Views of the Art World http://www.artinamericamagazine.com/news-features/magazine/possible-views-of-the-art-world-/ <p>Stella and Nick's desire to see themselves as exceptions to the rules&nbsp; is paired with a sense that they are powerless to change thoseStella and Nick's desire to see themselves as exceptions to the rules is paired with a sense that they are powerless to change those rules.&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> By Jameson Fitzpatrick Mon, 01 Jan 2018 00:00:00 +0100 /files/2017/11/21/img-possible-views-of-the-art-world-1_114825500981.jpg_wide_hthumb.jpg Three Snakes and Four Obsessions: Birna’s Playlist http://www.artinamericamagazine.com/news-features/news/three-snakes-and-four-obsessions-birnarsquos-playlist/ <p>Birna wanders YouTube as she does the world, gathering strange and compelling objects.<strong></strong><em></em></p> By Ásgerður Birna Björnsdóttir Mon, 11 Dec 2017 00:00:00 +0100 /cms/app/asset/action.php?a=createImage&id=33225&size_suffix=standalone Ruth Asawa http://www.artinamericamagazine.com/reviews/ruth-asawa/ <p>The show foregrounded the biomorphic "form within a form" pieces Asawa made between the 1950s and the 1990s; for each of these, she created a series of nested bulbous<strong> </strong>shapes using a continuous line of wire.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> By Elizabeth Buhe Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-asawa_101652402195.jpg_standalone.jpg Susan Cianciolo http://www.artinamericamagazine.com/reviews/susan-cianciolo/ <p>While children's naive, unfettered marks have long inspired artists seeking to unlock subconscious potential, Susan Cianciolo's recent exhibition at Bridget Donahue featured actual childhood production: the artist's nine-year-old daughter, Lilac, served as collaborator. Glitter glue, cheery kid's handwriting, and handprints on fabric lent an innocent charm to the show, which celebrated creativity in its most unrefined, indeterminate forms.&nbsp;&nbsp;</p> By Alina Cohen Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-susan-cianciolo_121435508495.jpg_wide_hthumb.jpg Diana Al-Hadid http://www.artinamericamagazine.com/reviews/diana-el-hadid/ <p>The three sculptures in Syrian American artist Diana Al-Hadid's recent exhibition "Falcon's Fortress" (all 2017) took their cues from timekeeping devices detailed in the book: "candle clocks" in which melting candles would trigger complex systems of counterweights and pulleys to release metal balls from the mouths of falcon figures at certain intervals, marking the hours as they passed.</p> By Rachel Wetzler Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-diana-al-hadid_124117876092.jpg_wide_hthumb.jpg Celeste Dupuy-Spencer http://www.artinamericamagazine.com/reviews/celeste-dupuy-spencer/ <p>Los Angeles-based painter Celeste Dupuy-Spencer frequently mines news stories and her own personal experiences for her work's content, producing contemporary genre paintings that are politically charged but ambiguous in meaning. Most of the twelve paintings and five drawings featured in "Wild and Blue"-the first solo exhibition in New York for Dupuy-Spencer, who was included in the 2017 Whitney Biennial-were made after the 2016 presidential election.&nbsp;&nbsp;</p> By Eric Sutphin Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-celeste-dupuy-spencer_132011820448.jpg_wide_hthumb.jpg Kahlil Robert Irving http://www.artinamericamagazine.com/reviews/kahlil-robert-irving/ <p>Thematically poignant and technically dazzling, the eleven sculptures shown in Kahlil Robert Irving's first New York solo exhibition, "Streets: Chains: Cocktails," appear to be blocky assemblages of urban detritus-lyrical junk sculptures that bring to mind works by Arman, C&eacute;sar, John Chamberlain, Noah Purifoy, and John Outterbridge. On closer inspection, however, the works prove to be ceramic objects-porcelain and stoneware-with embedded glass and stone elements.</p> By David Ebony Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-kahlil-robert-irving_125718784363.jpg_wide_hthumb.jpg Birdie Lusch http://www.artinamericamagazine.com/reviews/birdie-lusch/ <p>Birdie Lusch (1903-1988) was a self-taught artist who worked for most of her life at an assembly line in a ball-bearing factory in Columbus, Ohio, and made art out of found materials and repurposed household articles such as fruit crates and potato sacks. The selection of her paintings, sculptures, and collages shown recently at Kerry Schuss was of uneven quality: some works appeared simplistic or overwrought and others sophisticated and clear-eyed.</p> <p>&nbsp;</p> By Tatiana Istomina Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-birdie-lusch_130500216522.jpg_wide_hthumb.jpg Stephanie Syjuco http://www.artinamericamagazine.com/reviews/stephanie-syjuco/ <p>Since the election, Syjuco has been going to a lot of protests, and making a lot of banners. This activity furnished the raw materials for her exhibition. A red cloth emblazoned with resist hung in the third-floor gallery's window, admonishing passersby below. The show's largest work was another banner, this one reading, i am an american. It's a direct quotation from a 1942 Dorothea Lange photograph, in which the statement appears on a sign hanging in a San Francisco shopwindow.&nbsp;</p> By Glenn Adamson Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-stephanie-syjuco_113220998271.jpg_wide_hthumb.jpg “How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney” http://www.artinamericamagazine.com/reviews/ldquohow-to-read-el-pato-pascual-disneyrsquos-latin-america-and-latin-americarsquos-disneyrdquo/ <p>The Spanglish title "How to Read El Pato Pascual"&nbsp;encapsulates the dynamic cross-border cultural exchanges highlighted in this two-venue exhibition. Part of the Getty Center's Pacific Standard Time LA/LA initiative, the show explores links between Los Angeles and Latin America by focusing on how Disney characters like Mickey Mouse and Donald Duck have been reinvented in various Latin American contexts. Disney's playful anthropomorphic animals functioned as imperialist icons, as Chilean scholars Ariel Dorfman and Armand Mattelart detail in their seminal 1971 semiotic analysis&nbsp;How to Read Donald Duck. Yet far from being passive recipients of imperial culture, the forty-eight Latinx and Latin American artists in this show deploy Disney trademarks in films, videos, paintings, and sculptures that illustrate the hemisphere's syncretic culture.&nbsp;</p> By Julian Kreimer Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-how-to-read-pato-pasual_122231167717.jpg_wide_hthumb.jpg Lisa Lapinski http://www.artinamericamagazine.com/reviews/lisa-lapinski/ <p>Lisa Lapinski's installation at Kristina Kite consisted of nine artworks arranged around a spacious,&nbsp;high-ceilinged room. Though formally spare, it was conceptually dense. Drawing on ideas from children's stories and games, Shaker craftsmanship, Minimalist sculpture, and even spatial theory, Lapinski fashioned a taut if droll feminist realm&nbsp;that centered on two impish characters-Little My Chair,&nbsp;a cartoon figure in the form of a painted children's chair, and Geometric Holly Hobby, who was not directly depicted but represented by a series of sculptural bows. The various works were arranged in such a way that they resembled game pieces of sorts. Whether the game was friendly or cutthroat remained ambiguous.</p> By Jennifer S. Li Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-lisa-lapinski_13014742669.jpg_wide_hthumb.jpg Storme Webber http://www.artinamericamagazine.com/reviews/storme-webber/ <p>A Seattle-based writer and artist, Webber is a descendant of Sugpiaq (Alutiiq), black, and Choctaw people, from a family that counts queer or Two-Spirit (third-gender) members in many generations.&nbsp; The first and largest piece in Storme Webber's "Casino: A Palimpsest" was a photograph that covered an entire wall.&nbsp;The Venice of America&nbsp;(1891), taken by Frank La Roche and captioned "Indian dugout canoes in the harbor," shows a formation of passenger-carrying canoes at the foot of Washington Street in Seattle. Above them, a shadowed crowd peers down from the docks. The scene&nbsp;seems tense-the aftermath of conflict, or a presage of trouble to come.&nbsp;</p> By Minh Nguyen Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-storme-webber_1132447663.jpg_wide_hthumb.jpg Gianfranco Baruchello http://www.artinamericamagazine.com/reviews/gianfranco-baruchello/ <p>Featuring cryptic handwritten&nbsp;text components and multitudes of miniature figures linked to one another by arrows and lines, Italian artist Gianfranco Baruchello's paintings seem to map the fragmented, chaotic process of thinking. Baruchello's first survey in the UK, curated by art historian Luca Cerizza, spanned his career from the early 1960s (when the self-taught artist began to make art after a few experiments in poetry and literature) to the present day, including more than fifty paintings and a selection of films and diorama-like sculptural tableaux in wooden boxes.&nbsp;&nbsp;</p> By Federico Florian Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-gianfranco-baruchello_124656511229.jpg_wide_hthumb.jpg Marcia Hafif http://www.artinamericamagazine.com/reviews/marcia-hafif/ <p>For several decades, California-born artist Marcia Hafif has generally been known in Europe as a practitioner of ascetic monochrome painting. Her recent exhibition at the Kunsthaus Baselland, which surveyed her career from 1968 to 2009, revealed the remarkably multifarious quality of her monochromes and provided an opportunity to see her lesser-known works in other mediums.&nbsp;</p> By Aoife Rosenmeyer Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-marcia-hafif_125339883823.jpg_wide_hthumb.jpg Lucio Fontana http://www.artinamericamagazine.com/reviews/lucio-fontana-1/ <p>Lucio Fontana (1899-1968) is best known for his monochromatic paintings featuring linear slashes, which opened the medium into three dimensions; yet these canvases were only one aspect of the Italian artist's spatial investigations. His "Ambienti spaziali" (Spatial Environments) laid the foundations for the cut paintings and prefigured movements such as Group Zero in Europe and Light and Space in Southern California. In 1948, Fontana stated in a manifesto for the Spatialist movement he founded, "We want paintings to come out of their frames, and sculptures from under their glass case."&nbsp;</p> By Elizabeth Fullerton Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-lucio-fontana_11311754187.jpg_wide_hthumb.jpg Moyra Davey http://www.artinamericamagazine.com/reviews/moyra-davey-1/ <p>Canadian artist Moyra Davey's exhibition at Buchholz in Berlin "burrow[ed] into a life, termite fashion," to borrow phrasing she uses in one of the two videos on view,&nbsp;Wedding Loop&nbsp;(2017). Although the show delved into Davey's memories, stories of her family members and friends, and references to her artistic, literary, and philosophical influences, it abstained from sentimentality, instead reflecting the complicated manner in which a person negotiates her place in an ever-changing world.&nbsp;</p> By Louisa Elderton Mon, 04 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-moyra-davey_124945371890.jpg_wide_hthumb.jpg “Trigger: Gender as a Tool and a Weapon” http://www.artinamericamagazine.com/reviews/trigger-gender-as-a-tool-and-a-weapon/ <p>The show derives its energy from the wide variety of ways in which the works form (or refuse to form) their own links&mdash;internally, with each other, and with viewers. In some cases, following these threads can lead you to the works&rsquo; political underpinnings.&nbsp;</p> By Scott Roben Fri, 01 Dec 2017 00:00:00 +0100 /files/2017/11/06/img-trigger_161021539876.jpg_wide_hthumb.jpg Rachel Whiteread http://www.artinamericamagazine.com/reviews/rachel-whiteread/ <p>The material Whiteread chooses for each cast is a crucial part of the effect.</p> By Gabriel Coxhead Fri, 01 Dec 2017 00:00:00 +0100 They, The People http://www.artinamericamagazine.com/news-features/magazine/they-the-people-/ <p>Populist political movements have gained strength in recent years, but for whom, exactly, are they speaking?</p> By Alexander Provan Fri, 01 Dec 2017 00:00:00 +0100 Farewell Our Globalism http://www.artinamericamagazine.com/news-features/magazine/farewell-our-globalism/ <p>Sampling China's post-Tiananmen avant-garde, the Guggenheim Museum evokes both fading one-world hopes and rising ethical divisiveness.&nbsp;</p> By Richard Vine Fri, 01 Dec 2017 00:00:00 +0100 /files/2017/12/01/img-farewell-our-globalism1_103300117130.jpg_wide_hthumb.jpg Normal Design http://www.artinamericamagazine.com/news-features/magazine/normal-design/ <p>"Items: Is Fashion Modern?," now at MoMA, offers a new, broader sense of good design, from couture to the discount rack.&nbsp;</p> By Glenn Adamson Fri, 01 Dec 2017 00:00:00 +0100 /files/2017/12/04/img-normal-deisgn1_153720427740.jpg_wide_hthumb.jpg The Necessity of Touch: Laura Aguilar at the Vincent Price Art Museum http://www.artinamericamagazine.com/news-features/news/the-necessity-of-touch-laura-aguilar-at-the-vincent-price-art-museum-/ <p>In one of her films, the artist reflects on the lack of tenderness in her life that compelled her to cultivate it through images of herself and others.<strong></strong><em></em></p> By Hyunjee Nicole Kim Thu, 30 Nov 2017 00:00:00 +0100 /files/2017/11/27/img-aguilar1_16562253493.jpg_wide_hthumb.jpg Learning from LA/LA: Critical Pedagogy at Pacific Standard Time http://www.artinamericamagazine.com/news-features/news/learning-from-lala-critical-pedagogy-at-pacific-standard-time/ <p>Three remarkable exhibitions showcase heterogeneous tactics for aesthetic and political organizing through dialogical exchange, pedagogical intervention, and embodied acts of resistance.&nbsp;&nbsp;<strong></strong><em></em></p> By Mashinka Firunts Thu, 30 Nov 2017 00:00:00 +0100 /files/2017/11/30/img-pst-lala-1-_122420631160.jpg_wide_hthumb.jpg YouTube Therapy: Carolyn Lazard’s Playlist http://www.artinamericamagazine.com/news-features/news/youtube-therapy-carolyn-lazards-playlist/ <p>The artist's selection touches on issues of care, social responsibility, and the therapeutic applications of online videos.</p> By Carolyn Lazard Tue, 28 Nov 2017 00:00:00 +0100 /files/2017/11/28/img-lazard_141630159038.jpg_wide_hthumb.jpg Neighborhood Women: Mimi Gross and Jackie Ferrara in Conversation http://www.artinamericamagazine.com/news-features/news/neighborhood-women-mimi-gross-and-jackie-ferrara-in-conversation/ <p>Both artists lived and worked downtown in a fertile time but steered clear of art-world trends, carving out their own distinctive paths in the fringes.</p> By Brian Droitcour Tue, 21 Nov 2017 00:00:00 +0100 /files/2017/11/21/img-ferrara-gross-1_180510275791.jpg_wide_hthumb.jpg A Letter to Stephen Shore http://www.artinamericamagazine.com/news-features/magazine/portfolio-stephen-shore/ <p>You look at a curb, a bag, a bed, a plate and cutlery, and, in time, they become what they've always been, or what they always might have been if anyone had looked before: a horizon, a vanishing point, a frame.</p> By Joshua Cohen Tue, 21 Nov 2017 00:00:00 +0100 /files/2017/11/20/img-stephen-shore_182137183470.jpg_wide_hthumb.jpg A Remixed Museum: The Louvre Abu Dhabi http://www.artinamericamagazine.com/news-features/news/a-remixed-museum-thelouvre-abu-dhabi/ <p>All in all, while&nbsp;the Louvre Abu Dhabi&nbsp;can seem in places like&nbsp;an art-historical&nbsp;CliffsNotes, the ambition&nbsp;to&nbsp;reshuffle&nbsp;the&nbsp;deck and the&nbsp;fabulous objects&nbsp;thus brought together make&nbsp;the museum&nbsp;a game-changer.</p> By Alexandra Peers Thu, 09 Nov 2017 16:32:00 +0100 /files/2017/11/09/img-louvre-abu-dhabi-5_122446293986.jpg_wide_hthumb.jpg Low-Risk Aesthetics: Institutional Critique at MOCA Cleveland http://www.artinamericamagazine.com/news-features/news/low-risk-aesthetics-institutional-critique-at-moca-cleveland/ <p>Certainly the openness of potential interpretation is one of art&rsquo;s great pleasures and social functions, but I confess to a degree of weariness around the act of raising questions without offering answers. <strong></strong><em></em></p> By Sarah Rose Sharp Thu, 09 Nov 2017 00:00:00 +0100 /cms/image/slideshow_horz_silhouette.jpg Story Trader: An Interview with Wendy Red Star http://www.artinamericamagazine.com/news-features/interviews/story-trader-an-interview-with-wendy-red-star/ <p>In curating "Our Side," Wendy Red Star asked four Indigenous women artists to share stories about themselves and their people.</p> By Chloe Alexandra Thompson Wed, 08 Nov 2017 00:00:00 +0100 /files/2017/11/06/img-wendy-red-star-1_151418633080.jpg_wide_hthumb.jpg Fluid Frames: The Hybrid Art of Michael Nicoll Yahgulanaas http://www.artinamericamagazine.com/news-features/news/fluid-frames-the-hybrid-art-of-michael-nicoll-yahgulanaas/ <p>Using his signature Haida manga style, a fusion of Indigenous visual traditions from the Pacific Northwest and the graphic format of Japanese comics, Yahgulanaas translates oral history into a fluid, nonlinear reading experience.</p> <p><strong></strong><em></em></p> By Christopher Green Thu, 02 Nov 2017 00:00:00 +0100 Trevor Paglen http://www.artinamericamagazine.com/reviews/trevor-paglen-1/ <p>Trevor Paglen's efforts to document the institutions and apparatuses of our surveillance society have taken him from the deserts of Nevada to the bottom of the ocean.</p> By David Markus Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/17/img-trevor-paglen-review-_122315382937.jpg_standalone.jpg In the Studio: Yto Barrada http://www.artinamericamagazine.com/news-features/magazine/in-the-studio-yto-barrada/ <p>Barrada speaks in a rapid series of digressions, dropping anecdotes and quotations, many of them from semi-obscure artists from the twentieth century.&nbsp;</p> By Ross Simonini Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/23/img-yto-barrada_163006849232.jpg_wide_hthumb.jpg Guided By Justice http://www.artinamericamagazine.com/news-features/magazine/guided-by-justice/ <p>Rigo 23&rsquo;s work about activist communities is produced through collaborative processes inspired by the communities themselves.</p> By Erica Dawn Lyle Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/23/img-guided-by-justice-1_155957381403.jpg_wide_hthumb.jpg Staying Put http://www.artinamericamagazine.com/news-features/magazine/staying-put/ <p>St. Louis now offers a model for the critical reinvention of the art world as a whole.&nbsp; &nbsp;</p> By James McAnally Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/23/img-staying-put-1_16563790627.jpg_wide_hthumb.jpg Bridges and Walls http://www.artinamericamagazine.com/reviews/bridges-and-walls-/ <p>"Build bridges, not walls." That was the mantra heard often at opening week events for Pacific Standard Time: LA/LA. &nbsp;</p> By William S. Smith Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/24/img-bridges-and-walls-1_135017144203.jpg_wide_hthumb.jpg Kara Walker http://www.artinamericamagazine.com/reviews/kara-walker/ <p>Having emerged in the 1990s among a group of artists (Nicole Eisenman, Lisa Yuskavage, Ann Agee) unafraid of pressing historical styles to contemporary purpose, Walker understands the many ways the past can and must erupt in the present.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> By Faye Hirsch Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/11/03/img-kara-walker-review-_101210997523.jpg_standalone.jpg Amanda Ross-Ho http://www.artinamericamagazine.com/reviews/amanda-ross-ho-/ <p>Though the canvases may make visible the labor of painting and the artistic process, they also bear the marks of sprawling imagination.</p> <p>&nbsp;</p> <p>&nbsp;</p> By Elizabeth Buhe Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/24/img-amanda-ross-ho-review_151217794528.jpg_standalone.jpg Louis Fratino http://www.artinamericamagazine.com/reviews/louis-fratino/ <p>Fratino combines domestic themes of Intimist painters like Pierre Bonnard with the kind of exaggerated figuration found in works by Max Beckmann and Dana Schutz.&nbsp;</p> By Eric Sutphin Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/10/24/img-louis-fratino_151754904038.jpg_standalone.jpg Petra Cortright http://www.artinamericamagazine.com/reviews/petra-cortright/ <p>The works recycle a number of conventional painterly tropes, depicting idyllic landscapes and pretty flowers overlaid with swooping gestural abstractions.&nbsp;</p> By Rachel Wetzler Wed, 01 Nov 2017 00:00:00 +0100 /files/2017/11/09/img-petra-cortright-review-5000_142905779959.jpg_standalone.jpg