Art in America - Most Recent The most recent items from Art in America. Mon, 05 Oct 2015 19:42:26 +0100 FeedCreator 1.7.2 Mary Weatherford <p>A selection of eight sprawling paint-and-neon-light canvases&nbsp;by Mary Weatherford was an inspired choice for inaugurating this Lower East Side gallery&rsquo;s cavernous new satellite space in the Red Hook neighborhood of Brooklyn.</p> By David Ebony Mon, 05 Oct 2015 00:00:00 +0100 /files/2015/09/29/img-wheatherford_172531740248.jpg_standalone.jpg Matthew Barney in La La Land <p>The subject of a major museum exhibition at the Los Angeles Museum of Contemporary Art, as well as a gallery show of new works at Regen Projects, New York-based artist Matthew Barney is a formidable presence in southern California at the moment.</p> By David Ebony Mon, 05 Oct 2015 00:00:00 +0100 /files/2015/09/30/img-barney-in-la-3_191025101874.jpg_wide_hthumb.jpg DeWain Valentine <p>One of New York&rsquo;s top art-selfie locations in recent months was David Zwirner during DeWain Valentine&rsquo;s exhibition &ldquo;Works from the 1960s and 1970s.&rdquo; The show marked the California Light and Space artist&rsquo;s debut at the gallery, as well as his first solo presentation in the city in more than three decades.</p> By Wendy Vogel Fri, 02 Oct 2015 00:00:00 +0100 /files/2015/09/29/img-valentine_171158832695.jpg_standalone.jpg Experimental Mindset: An Interview with Andrew Blauvelt <p>There's change in the air at the <a href="">Cranbrook Art Museum</a>, where Andrew Blauvelt, a 1988 MFA graduate of Cranbrook Academy of Art's design department, begins his new job as director this month. A practicing graphic designer for more than 20 years, Blauvelt comes to Cranbrook from the <a href="">Walker Art Center</a> in Minneapolis, Minn., where he was senior curator of design, research and publishing since 2013.</p> By Sarah Rose Sharp Fri, 02 Oct 2015 00:00:00 +0100 /files/2015/10/01/img-blauvelt-interview-1_135506839781.jpg_wide_hthumb.jpg “For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979” <p>Japanese photography has held a unique place in the&nbsp;realms of both international contemporary photography and postwar Japanese art ever since Anne Wilkes Tucker&rsquo;s landmark 2003 exhibition &ldquo;The History of Japanese Photography,&rdquo; at the Museum of Fine Arts, Houston (MFAH). Staged 12 years later at the same venue and now on view in New York (at the Grey Art Gallery and the Japan Society Gallery), &ldquo;For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979&rdquo; presents a more specific set of concerns.&nbsp;</p> By Mika Yoshitake Thu, 01 Oct 2015 00:00:00 +0100 /files/2015/09/29/img-for-a-new-world-to-come_165530685858.jpg_standalone.jpg Total Service Artists <p>In an era of shrinking professional support, many artists are making self-sufficiency, self-evaluation and self-promotion integral parts of their artistic identity and their oeuvre.&nbsp;</p> By Raphael Rubinstein Thu, 01 Oct 2015 00:00:00 +0100 /files/2015/09/30/img-total-service-artists-1_132011244134.jpg_wide_hthumb.jpg Coney Island Forever <p>The democratic multi-racial, multi-ethnic, multi-class hurly-burly of American leisure since the mid-1800s is reflected in a traveling museum exhibition about Coney Island.&nbsp;</p> By Jonathan Weinberg Thu, 01 Oct 2015 00:00:00 +0100 /files/2015/09/30/img-coney-island-1_151055756547.jpg_wide_hthumb.jpg In the Studio: Lisa Yuskavage <p>Praised and reviled for the gender politics implicit in her work, Lisa Yuskavage ignores controversy to speark of her intense commitment to the formal practice and enlightening history of painting.&nbsp;</p> By Jarrett Earnest Thu, 01 Oct 2015 00:00:00 +0100 /files/2015/09/30/img-lisa-yuskavage-1_161650688371.jpg_wide_hthumb.jpg Laura Owens <p>The assumption that painting, with its direct link to the artist&rsquo;s hand, offers unparalleled access to subjectivity has always been taken by Laura Owens as a cue for irony. She adopts pictorial idioms&mdash;fantasy landscape, decorative abstraction, whimsical animal and plant vignettes&mdash;that are associated with naive self-expression. But her seemingly guileless imagery consists of painstakingly imitated signs, their naivety belied by their execution. A cluster of oil stains augmented with touches to make them resemble a fluffy bear, for example, will appear to illustrate the process that has created the image rather than the bear the process serves to illustrate. Owens is a disillusioned structuralist masquerading as a naive illusionist.</p> By Mark Prince Wed, 30 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-laura-owens_165541265091.jpg_standalone.jpg Checking in on the Cape Town Art Scene <p>When asked why he thought there may be a surge of interest in contemporary African art in the past year, Joost Bosland, a director of the Cape Town branch of <a href="">Stevenson</a>, the largest contemporary gallery in South Africa, winced. "I'm not sure if that surge of interest really exists outside of the art magazines," he stated.</p> By Brienne Walsh Wed, 30 Sep 2015 00:00:00 +0100 /files/2015/09/30/img-south-africa-contemp-2_110448142824.jpg_wide_hthumb.jpg Ull Hohn and Tom Burr <p>Painting is nothing but the discourse around painting&mdash;this is what one could conclude after seeing Ull Hohn&rsquo;s exhibition at Peep-Hole. &ldquo;Painting, painting,&rdquo; Hohn&rsquo;s first show in Italy, surveyed the work of an artist who died of AIDS-related illnesses in 1995 at the age of 35, and whose entire oeuvre dates from the late &rsquo;70s to the &rsquo;90s. More than a show of pictorial works, however, the exhibition&mdash;effectively a retrospective&mdash;was a clever, theoretical inquiry into the limitations and possibilities of the medium.&nbsp;</p> By Federico Florian Tue, 29 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-hohn-and-burr_165504922646.jpg_standalone.jpg “The Unfinished Conversation: Encoding/Decoding” <p>&ldquo;Though the production structures of television originate the television discourse,&rdquo; Stuart Hall once argued, &ldquo;they do not constitute a closed system. They draw topics, treatments, agendas, events, personnel, images of the audience, &lsquo;definitions of the situation&rsquo; from other sources.&rdquo; The radical theorist, who died last year at age 82, cofounded the&nbsp;<em>New Left Review&nbsp;</em>and ran Britain&rsquo;s first cultural studies program; media was, to him, &ldquo;the arena of consent and resistance.&rdquo;&nbsp;</p> By Chris Randle Mon, 28 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-unfinished-conversation_165234894654.jpg_standalone.jpg Larry Johnson <p>Virtually all of Larry Johnson&rsquo;s works are photographs. And while that might be well known in the U.S., where he&rsquo;s relatively established, it probably came as something of a revelation for audiences in London, where his work is seen more often in reproduction than in the flesh.</p> By Gabriel Coxhead Mon, 28 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-larry-johnson_165410405159.jpg_standalone.jpg Matter That Really Matters: Carolyn Christov-Bakargiev’s Istanbul Biennial <p>This eagerly anticipated <a href="">Istanbul Biennial</a>, "Saltwater," is the first exhibition by curator Carolyn Christov-Bakargiev since her acclaimed Documenta 13 in 2012. Christov-Bakargiev's exhibitions are all about maximum contact&mdash;contact with artworks and ideas, with sundry cultural objects as well as with animals, plants, sites and their meanings. Here such contact extends to Istanbul as a whole.</p> By Gregory Volk Mon, 28 Sep 2015 00:00:00 +0100 /files/2015/09/28/img-istanbul-biennial-2015-7_142122875509.jpg_wide_hthumb.jpg A.L. Steiner <p>The first wall of prints in A.L. Steiner&rsquo;s installation at Blum &amp; Poe was sequenced with a formalist eye. One photograph led to the next in a way that suggested&nbsp;they were elaborating on each other like sentences in&nbsp;an essay, or a polemic.&nbsp;</p> By Colin Westerbeck Fri, 25 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-al-steiner_165136429118.jpg_standalone.jpg Christopher Cascio <p>On the less-to-more scale of art-making, Christopher Cascio scores at the far end of the &ldquo;more&rdquo; side. Like Arman, Allen Ruppersberg and Barton Lidice Bene&scaron;, he is an incessant accumulator who builds his works and exhibitions from various ongoing collections.</p> By Raphael Rubinstein Thu, 24 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-cascio_165050631847.jpg_standalone.jpg “En Mas: Carnival and Performance Art of the Caribbean” <p>Carnival celebrations today have lost much of their original social and religious purpose, becoming, like most everything, highly commercialized events. Carnival in the Caribbean can be traced in part to the masquerade balls thrown by 18th-century French plantation owners in Trinidad, alongside which slaves and newly freed Africans developed separate revelries that evolved into what Trinidadians call &ldquo;playing mas.&rdquo; To play mas encompasses conceiving, creating and performing a character. Music and dance are as crucial to these productions as objects and outfits.</p> By Cathy Lebowitz Wed, 23 Sep 2015 00:00:00 +0100 /files/2015/09/23/img-en-mas_163055265681.jpg_standalone.jpg Learning from Singapore? <p><a href="">Singapore: Inside Out</a>, taking place Sept. 23-27 in a towering scaffold structure at New York's Madison Square Park, is a showcase of Singaporean visual arts, music, fashion, design, film and drama. The New York event is part of an official global push to promote cultural production in Singapore (where tourism is a major industry) on the occasion of the island state's 50th anniversary of full independence from Great Britain.</p> By Richard Vine Wed, 23 Sep 2015 00:00:00 +0100 /files/2015/09/23/img-singapore-web-1_102626541671.jpg_wide_hthumb.jpg Ree Morton <p>Ree Morton&rsquo;s survey &ldquo;Be a Place, Place an Image, Imagine a Poem&rdquo; (titled after lines the American artist jotted in a notebook) takes viewers through more than 100 drawings, paintings and installations she produced in a span of nine years. Morton (1936-1977) left her husband and children at 30 to pursue a career in art and died in a car accident at 40. The show&mdash;roughly chronological&mdash;is cleverly arranged: it starts off low-key and ends with a succession of opulent, Rococo-inspired installations bordering on kitsch.&nbsp;</p> By Karin Bellmann Tue, 22 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-ree-morton_164846408744.jpg_standalone.jpg Elaine Lustig Cohen <p>It is more than likely that you have seen Elaine Lustig Cohen&rsquo;s designs for buildings, interiors, books or exhibitions. Stopping on a street corner, you might have lingered over a stack of New Directions paperbacks whose California-hued Constructivist covers caught your eye. If you have studied Minimalism, you might recall the image of a vivid red line snaking through a large P on the cover of the Jewish Museum&rsquo;s 1966 &ldquo;Primary Structures&rdquo; catalogue. Strolling through Mies van der Rohe and Philip Johnson&rsquo;s Seagram Building, you might have noticed the blunt<strong>&nbsp;</strong>font used on the signage. These are just a few of the projects Cohen realized within the two decades of her design career.&nbsp;</p> By Andrianna Campbell Mon, 21 Sep 2015 00:00:00 +0100 /files/2015/09/21/img-lustig-cohen_105237459510.jpg_standalone.jpg Transformation and Becomings: An Interview with A.K. Burns <p><a href="">A.K. Burns</a>, an artist known for collaborative working methods, queer-feminist activism and intuitive processes, premieres <em style="mso-bidi-font-style: normal;">A Smeary Spot </em>at<a href=""> Participant Inc.</a> (Sept. 13-Oct 18). The non-narrative video installation, which she calls a poetic manifesto, recognizes negative space as matter with agency.</p> By Risa Puleo Mon, 21 Sep 2015 00:00:00 +0100 /files/2015/09/18/img-ak-burns-smeary-spot-2_094551555006.jpg_wide_hthumb.jpg “Videofreex: The Art of Guerrilla Television” <p>&ldquo;Videofreex: The Art of Guerrilla Television,&rdquo; at SUNY New Paltz&rsquo;s Dorsky Museum, explored the activities of a &rsquo;70s-era New York-based video collective whose members straddled a range of methodologies but were united by a singular enthusiasm. As wide-eyed innovators of a new medium, they saw video technology as a means of transforming passive viewers into active mediators.&nbsp;</p> By Erin Sickler Fri, 18 Sep 2015 00:00:00 +0100 /files/2015/09/18/img-videofreex-1_10414060312.jpg_standalone.jpg Michal Helfman <p>For her first solo show in New York, Israeli artist Michal Helfman presented a taut display that included drawing, installation, a dice game and a video. &ldquo;I&rsquo;m so broke I can&rsquo;t pay attention&rdquo; was the penultimate in a series of six quick-fire exhibitions addressing contemporary value systems (for which the downtown gallery P! temporarily rebranded itself as K.).&nbsp;</p> By Iona Whittaker Thu, 17 Sep 2015 00:00:00 +0100 /files/2015/09/17/img-michal-helfman_111531268538.jpg_standalone.jpg Ida Applebroog <p>Most of Applebroog's works, from flip books and films to composite paintings and installations, generate elusive narratives through the juxtaposition and repetition of images. The same principle holds for her recent exhibition &ldquo;The Ethics of Desire,&rdquo; which could be viewed as a single montage sequence.</p> By Tatiana Istomina Wed, 16 Sep 2015 00:00:00 +0100 /files/2015/09/03/img-applebroog_103957182330.jpg_standalone.jpg United States of Latin America: A Conversation with Jens Hoffmann and Pablo León de la Barra <p style="margin-left: 0in; text-indent: 0in; line-height: 200%;">The Museum of Contemporary Art Detroit (MOCAD) is buzzing with activity in preparation for the opening of <a href="">"United States of Latin America"</a> (Sept. 18, 2015-Jan. 3, 2016), organized by Jens Hoffmann and Pablo Le&oacute;n de la Barra. Hoffmann and Le&oacute;n de la Barra spoke with <em style="mso-bidi-font-style: normal;">A.i.A.</em> about the concept of the show, their hopes for a greater dialogue around Latin American identity, and the energy of emerging art scenes.</p> By Sarah Rose Sharp Wed, 16 Sep 2015 00:00:00 +0100 /files/2015/09/16/img-usla---minerva-cuevas_121625591723.jpg_wide_hthumb.jpg Alice Mackler <p>Though Alice Mackler has been making art since the 1950s, she only started gaining recognition in the last couple of years, when her work appeared in a series of well-received exhibitions. A full life including both struggle and success, however, can make for rich art, and indeed the new ceramic figures in the 84-year-old artist&rsquo;s recent show at Kerry Schuss demonstrate formal ingenuity and sharp wit.</p> <p>&nbsp;</p> By Eric Sutphin Tue, 15 Sep 2015 00:00:00 +0100 /files/2015/09/03/img-mackler_103909195084.jpg_standalone.jpg Will Benedict <p>Titled &ldquo;A Bone in the Cheese,&rdquo; Will Benedict&rsquo;s first solo show at Bortolami recalled Archibald MacLeish&rsquo;s absurdist, apocalyptic sonnet about a circus in which an &ldquo;armless ambidextrian&rdquo; lights a match between his toes for an audience under the big top. The poet cleverly uses the tent to suggest the entire world, crowded with pitiable freaks, including both the performers and the onlookers. In Benedict&rsquo;s show, the gallery likewise functioned as a microcosm of the world.&nbsp;</p> By Julia Wolkoff Mon, 14 Sep 2015 00:00:00 +0100 /files/2015/09/03/img-benedict_103723959822.jpg_standalone.jpg Facts, Figures, Afterthoughts <p>The Museum of Modern Art's Pablo Picasso retrospective of 1980 attracted over a million visitors, putting an unprecedented strain on the museum's finances, physical plant and staff. In <em>A.i.A.</em>'s December 1980 issue, dedicated to Picasso, Roberta Smith reported on the how the museum coped with "ultimate blockbuster show&mdash;simultaneously elitist and popular in its appeal." <em style="mso-bidi-font-style: normal;"><br /></em></p> By Roberta Smith Mon, 14 Sep 2015 00:00:00 +0100 /files/2015/07/01/img-facts-figures-afterthoughts-picasso-1_113526383601.jpg_wide_hthumb.jpg The Disappearing Mural <p>For a show at Castelli Gallery in 1983, Pop pioneer Roy Lichtenstein produced the 96&frac12;-foot-long <em>Greene Street Mural</em>, which was destroyed at the end of the exhibition. This fall, Gagosian's 24th Street location mounts <a href="">"Roy Lichtenstein: Greene Street Mural"</a> (Sept. 10-Oct. 17), with a full-size replica of the mural, studies and documentation, and smaller works that Lichtenstein produced in the same era. <em style="mso-bidi-font-style: normal;"><br /></em></p> By Gary Indiana Fri, 11 Sep 2015 00:00:00 +0100 /files/2015/07/13/img-the-disappearing-mural-lichtenstein-archive-7---cover-image_130301285842.jpg_wide_hthumb.jpg Cildo Meireles <p>In his first solo exhibition in the U.S. since 2004, the Brazilian artist Cildo Meireles played with the physical and psychological dimensions of perception in sculptures and installations spanning more than four decades. Known for his highly sensorial large-scale installations in which viewers have been invited to tread through broken glass, talcum powder or a dense web of thick cotton threads, the artist&mdash;born in 1948 in Rio de Janeiro, where he still lives&mdash;has long explored the elastic space between the personal and the political.</p> By Hilarie M. Sheets Fri, 11 Sep 2015 00:00:00 +0100 /files/2015/09/03/img-cildo-meireles_103554682100.jpg_standalone.jpg Painting’s Full Arsenal: An Interview with Keltie Ferris <p>Keltie Ferris creates marks&mdash;smeared, sprayed and hand-painted&mdash;that solidify or dissolve into abstractions with a sense of perceptual depth that allows for multi-dimensional readings. The 38-year-old artist returns to Chelsea gallery <a href="">Mitchell-Innes &amp; Nash</a> this fall for her second solo exhibition. Ferris recently spoke with <em>A.i.A.</em> about identity, constellations and what keeps her interest in abstraction alive.</p> By Jason Stopa Thu, 10 Sep 2015 00:00:00 +0100 /files/2015/09/02/img-keltie-ferris-interview-1_182009210508.jpg_wide_hthumb.jpg Tina Barney <p>Tina Barney&rsquo;s nominal survey &ldquo;Four Decades&rdquo; attempted to do more than it reasonably could. The limited selection of 11 photographs, while providing a sampling of the photographer&rsquo;s oeuvre, oversimplified her progression as an artist. Moreover, despite the show&rsquo;s title, the works spanned 1982 to 2010, representing less than 30 years. Evidently in want of curatorial guidance, the exhibition was framed in a problematic way, though one not bad enough to spoil the pleasure of viewing the pictures themselves.</p> By Charles M. Schultz Tue, 08 Sep 2015 00:00:00 +0100 /files/2015/09/17/img-tina-barney_104322107841.jpg_standalone.jpg David Salle <p>When David Salle indulges his refined taste in the &ldquo;Silver Paintings&rdquo; (2014-15), the results are hauntingly gorgeous. But in the concurrent &ldquo;Late Product Paintings,<em>&rdquo;</em>&nbsp;he rolls up his sleeves and throws the world onto his canvases, risking a chaotic mess but achieving a poignant grace.&nbsp;</p> By Dennis Kardon Mon, 07 Sep 2015 00:00:00 +0100 /files/2015/08/19/img-david-salle_112245971798.jpg_standalone.jpg Trenton Doyle Hancock <p>Trenton Doyle Hancock&rsquo;s dizzying midcareer retrospective had the density of jokes, random asides and self-referentiality of a maximalist novel. Hancock treated the gallery the way his literary contemporaries (he&rsquo;s a year older than Zadie Smith) treat the literary form. In his work, fictions wrap themselves around fictions, expectations are built and then deflected, and emotional and intellectual authenticity seems to burst from every detail, however outlandish it may at first appear.&nbsp;&nbsp;</p> By Julian Kreimer Fri, 04 Sep 2015 00:00:00 +0100 /files/2015/08/19/img-trenton-doyle-hancock_112114296240.jpg_standalone.jpg Joan Mitchell Center Unveils Campus and Residency in NOLA <p>The energy was palpable as over 250 artists, curators, community leaders and local enthusiasts crowded into the Indigo building on Aug. 22 to listen to remarks at the grand opening of the <a href="">Joan Mitchell Center</a> in New Orleans's 7th Ward. The center, which was established by the New York-based Joan Mitchell Foundation, is home base for the foundation's new artist-in-residence program.</p> By Rebecca Lee Reynolds Fri, 04 Sep 2015 00:00:00 +0100 /files/2015/09/03/img-joan-mitchell-center-6_172936447486.jpg_wide_hthumb.jpg Franklin Sirmans Takes the Helm at Pérez Art Museum <p>The <a href="">P&eacute;rez Art Museum Miami (PAMM)</a> has appointed Franklin Sirmans its new director, effective October 15. Sirmans, age 46, has been department head and curator of contemporary art at the <a href="">Los Angeles County Museum of Art </a>since 2010.</p> By Wendy Vogel Fri, 04 Sep 2015 00:00:00 +0100 /files/2015/09/04/img-franklin-sirmans-perez_161930101130.jpg_standalone.jpg Leidy Churchman <p>A scavenger whose painted appropriations strike an earnest chord, the New York-based artist Leidy Churchman (b. 1979) culls from the miraculous detritus of our visual world. \</p> By Faye Hirsch Thu, 03 Sep 2015 00:00:00 +0100 /files/2015/09/17/img-leidy-churchman_10453916961.jpg_standalone.jpg Marjorie Strider <p>Though Marjorie Strider (1934-2014) exhibited her bold Pop paintings of pin-up girls and produce alongside Andy Warhol and Roy Lichtenstein in the 1960s, she is only now gaining critical recognition comparable to that of her male colleagues.</p> By Antonia Pocock Wed, 02 Sep 2015 00:00:00 +0100 /files/2015/08/19/img-marjorie-strider_111932194057.jpg_standalone.jpg Overview: Between the High and the Low <p>Overview is a new review column in which writers survey multiple exhibitions or other projects. This month&rsquo;s edition covers the shows &ldquo;International Pop,&rdquo; at the Walker Art Center, Minneapolis; &ldquo;Revolution of the Eye,&rdquo; at the Jewish Museum, New York; and &ldquo;What Nerve! Alternative Figures in American Art, 1960 to the Present,&rdquo; at Matthew Marks Gallery, New York.</p> <p>&nbsp;</p> By William S. Smith Tue, 01 Sep 2015 00:00:00 +0100 /files/2015/09/02/img-pop-overview-1_113025514969.jpg_wide_hthumb.jpg Pavilion Problems <p>What is there in the history of the Venice Biennale&mdash;or in its current procedures&mdash;that dampens the quality of so many national displays?</p> By Brian Droitcour Tue, 01 Sep 2015 00:00:00 +0100 /files/2015/08/28/img-pavilions-1_133741392565.jpg_wide_hthumb.jpg