Art in America - Most Recent The most recent items from Art in America. Sun, 01 May 2016 05:56:13 +0100 FeedCreator 1.7.2 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 <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 <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 <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 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 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 <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 <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 <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 String Theory: C. Spencer Yeh on YouTube <p>C. Spencer Yeh modestly describes himself as an &ldquo;uncoordinated and tone-deaf&rdquo; musician, but that hasn&rsquo;t lessened the demand for his performances at high-profile art venues. Over the next few weeks, he will present vocal abstractions, violin improvisations, and video art at&nbsp;<a href="">the School of Visual Arts</a>&nbsp;and&nbsp;<a href="">the Kitchen</a>&ndash;both in New York&ndash;and at the&nbsp;<a href="">Walker Art Center</a>&nbsp;in Minneapolis.</p> By Anthony Bastone Tue, 26 Apr 2016 00:00:00 +0100 /files/2016/04/26/img-c-spencer-yeh-playlist_160713436819.jpg_standalone.jpg Adrian Paci <p>Albanian artist Adrian Paci (b. 1967) immigrated to Italy in 1997, and his works are frequently inspired by histories of displacement, his own and that of others. His videos in particular generate strong metaphors for the trauma that results from hardship. In one of his best-known works,&nbsp;<em>Centro di Permanenza Temporanea</em>(Center for Temporary Permanance, 2007), we watch migrant men and women walk onto a runway tarmac and crowd up a flight of boarding steps, only to discover that there is no airplane at the top.</p> By Aoife Rosenmeyer Mon, 25 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-adrian-paci_113226944005.jpg_standalone.jpg Post-Consumer Report: A Conversation with Rodney McMillian <p>Rodney McMillian&rsquo;s work is a journey, and viewers willing to travel can make seeing it a journey, too. Three exhibitions on view at East Coast institutions comprise a tripartite midcareer retrospective for the Los Angeles-based artist. The Studio Museum in Harlem is currently featuring his sculptures, many made of repurposed couches, chairs and other domestic &ldquo;post-consumer objects&rdquo; in a show titled &ldquo;Views of Main Street.&rdquo;</p> By William S. Smith Mon, 25 Apr 2016 00:00:00 +0100 /files/2016/04/25/img-mcmilian-4_113025533546.jpg_standalone.jpg Robert Melee <p>Robert Melee transforms cheap suburban decor into strange, riotous glamour. In the past he has accomplished this through room-size installations incorporating faux wood and marble; plastic shower curtains slickly painted and draped over refrigerator doors; lamps buried in waxlike drips of layered paint; and TV consoles featuring campy home movies of his mother, Rose, in drag.</p> By Jane Harris Fri, 22 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-robert-melee_112615315804.jpg_standalone.jpg John Akomfrah <p>Ghana-born British filmmaker John Akomfrah garnered international acclaim with his haunting film&nbsp;<em>Vertigo Sea</em>(2015), one of the highlights of last year&rsquo;s Venice Biennale. Through a rich lattice of references ranging from<em>Moby-Dick&nbsp;</em>to the slave trade, and interweaving breathtaking archival footage with fictional material, the film evokes themes of displacement, empire and collective memory, using the sea as a vehicle.&nbsp;</p> By Elizabeth Fullerton Thu, 21 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-john-akomfrah_113203607779.jpg_standalone.jpg Marcel Dzama and Raymond Pettibon <p>Collaboration is typical in film, music, design and other mass cultural forms, but less common (or less recognized) in the fine arts. High regard for the singular author&rsquo;s hand is so ingrained that visitors to this exhibition of collaborative drawings by Marcel Dzama and Raymond Pettibon likely found themselves trying to distinguish which marks were made by which artist.</p> By Antonia Pocock Wed, 20 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-marcel-dzama-raymond-pettibon_112556365296.jpg_standalone.jpg David Maljković <p>Zagreb-based artist David Maljković is known for regularly reconfiguring his work and reflecting on its exhibition history. Curated by VOX director Marie J. Jean, Maljković&rsquo;s first major Canadian exhibition spanned four rooms and included 18 pieces made between 2003 and 2016, many of which have multiple past and present iterations. For instance,&nbsp;<em>A Long Day for the Form</em>, first shown at the Kunsthalle Basel in 2012, appears in two versions here. In one of these, originally conceived for Vienna&rsquo;s Georg Kargl Fine Arts in 2014, a rectangular platform made of wallboard is built around one of the gallery&rsquo;s square columns.</p> By Milena Tomic Tue, 19 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-david-maljkovic_113057567685.jpg_standalone.jpg Hedonists and Humanists: Mapplethorpe in Los Angeles <p>It seems difficult to reevaluate Robert Mapplethorpe&rsquo;s career today, partly because the furor over the cancellation of his first retrospective at the Corcoran Gallery in 1989 inspired such thoughtful assessments of his work then. No one will ever sum up the power of that work more succinctly than Arthur C. Danto did in his 1996 book on Mapplethorpe,&nbsp;<em>Playing with the Edge</em>.&nbsp;</p> By Colin Westerbeck Tue, 19 Apr 2016 00:00:00 +0100 /files/2016/04/19/img-mapplethorpe-westerbeck-1_114235581584.jpg_wide_hthumb.jpg Katherine Bradford <p>Often little more than daubs and smears, the miniature figures populating the textured expanses of Katherine Bradford&rsquo;s recent paintings seem as though they might at any moment melt back into the once-formless substance that constitutes them. The sensation is not without meaning in the context of her subject matter: swimmers in various kinds of waters, from pounding ocean waves to tranquil night-lit pools. The paintings plumb a venerable theme&mdash;that of the bather, beloved of C&eacute;zanne and Renoir.&nbsp;</p> By Faye Hirsch Mon, 18 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-katherine-bradford_112507604879.jpg_standalone.jpg Author of Astonishment: Charlotte Moorman at the Block Museum <p>Is there any other artist whose body is as routinely conflated with her oeuvre as Charlotte Moorman?&nbsp;&ldquo;Discover why Charlotte Moorman was called [. . .] the Topless Cellist&rdquo; is the Barnumesque lure on&nbsp;a postcard advertising&nbsp;&ldquo;A Feast of Astonishments: Charlotte Moorman and the Avant-Garde,1960s-1980s&rdquo; at the Mary and Leigh Block Museum of Art&mdash;as if viewers couldn&rsquo;t work out the reason for the appellation on their own.</p> By Lauren DeLand Mon, 18 Apr 2016 00:00:00 +0100 /files/2016/04/18/img-moorman-deland-1_1115237677.jpg_wide_hthumb.jpg John Outterbridge <p>Octogenarian John Outterbridge, who had a distinguished career in arts administration at the Pasadena Art Museum (now the Norton Simon Museum) and the Watts Towers Arts Center, is best known for his poignant assemblages that meld reminders of American slavery with reflections on family and personal history. His recent show &ldquo;Rag Man&rdquo; focused primarily on works made between 2008 and 2012.&nbsp;</p> By Jennifer S. Li Fri, 15 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-john-outterbridge_113033871379.jpg_standalone.jpg Past and Future Camera: Lizzie Fitch and Ryan Trecartin’s New Movies <p>A nervous girl is sitting and fidgeting in a room. &ldquo;Can you tell the difference between a camera and a camera?&rdquo; asks an off-screen voice. The girl breaks her downcast gaze to furtively glance at the two cameras recording her. &ldquo;Yes,&rdquo; she whispers. This is one of the first scenes in Lizzie Fitch and Ryan Trecartin&rsquo;s twenty-minute movie&nbsp;<em>Permission Streak&nbsp;</em>(2016).&nbsp;</p> By Brian Droitcour Fri, 15 Apr 2016 00:00:00 +0100 /files/2016/04/15/img-trecartin-2_12374669376.jpg_wide_hthumb.jpg Rob Halverson <p>Rob Halverson presented a focused selection of new works (all 2016) in &ldquo;All Repeat,&rdquo; his show at Soloway in Brooklyn. Austere paintings and works on paper depicting vaguely diagrammatic forms were juxtaposed with photographs and personal ephemera.</p> By Sam Korman Thu, 14 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-rob-halverson_112435485751.jpg_standalone.jpg Evan Holloway <p>It is possible to argue&mdash;and, indeed, I heard it argued while visiting this exhibition&mdash;that Evan Holloway belongs to the first generation of artists in Los Angeles that did not look outside of California, to New York or to Europe, to define their work, whether through aspiration or through contradistinction. If that sounds like hyperbole, it may not be as far-fetched as it initially seems. In any case, it is undeniable that in the late 1990s, a loose group of L.A. artists&mdash;including Holloway, Liz Craft, Jason Meadows, Jeff Ono and Kristin Calabrese&mdash;emerged with a distinctly homegrown vernacular.</p> By Jonathan Griffin Wed, 13 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-evan-holloway_113006204668.jpg_standalone.jpg Where the Barbarians Are: A Conversation with Koyo Kouoh <p>It has been a busy year for Koyo Kouoh, and any respite seems inconceivable for the Senegal-based curator.&nbsp;Kouoh and I spoke as she was making final preparations for EVA International: Ireland&rsquo;s Biennial of Contemporary Art. She is the curator of the biennial&rsquo;s 37th edition, which runs from April 16 to July 17 in Limerick.&nbsp; &nbsp;&nbsp;</p> By Aoife Rosenmeyer Wed, 13 Apr 2016 00:00:00 +0100 /files/2016/04/13/img-eva-international-3_111116336626.jpg_wide_hthumb.jpg Lari Pittman <p>With the intensity and drive of a visionary, Los Angeles painter Lari Pittman has been honing a forceful and idiosyncratic approach to picture-making for more than three decades. His<strong>&nbsp;</strong>quasi-abstract imagery often harbors acerbic commentary<strong>&nbsp;</strong>addressing hot-button issues like social inequity and sexual identity.&nbsp;</p> By David Ebony Tue, 12 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-lari-pittman_112411572826.jpg_standalone.jpg A Leotard for All Occasions: Erin Markey on YouTube <p>A major part of&nbsp;<a href="">Erin Markey</a>&rsquo;s undeniable magnetism is her ability to organically inhabit a variety of personas. The link below is a playlist of ten of my favorite videos that highlight the versatility with which the artist uses her&nbsp;rubber-faced physicality and terrifyingly piercing blue eyes&nbsp;in acting roles, karaoke covers, stage appearances, and at-home webcam sketches.&nbsp;</p> By Sean J. Patrick Carney Tue, 12 Apr 2016 00:00:00 +0100 /files/2016/04/12/img-erin-markey-playlist_120723748726.png_standalone.jpg Daniel Rios Rodriguez <p>Daniel Rios Rodriguez&rsquo;s quirky, unassuming paintings don&rsquo;t fall into any easily recognizable niche or category, as was seen in the up-and-coming San Antonio artist&rsquo;s first solo show at Western Exhibitions. With their homemade and found wood frames, their collaged elements (shells, river rocks, feathers), and their deliberately unrefined paint-handling, these works have a rustic, do-it-yourself feel.&nbsp;</p> By Kyle MacMillan Mon, 11 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-daniel-rios-rodriguez_112919150170.jpg_standalone.jpg Jürgen Klauke <p>In &ldquo;The Pains and Pleasures of Rebirth,&rdquo; a 1976 article about women&rsquo;s body art published in this magazine, Lucy Lippard criticized various body-art tropes by men. The offending practices consisted not only of men instrumentalizing women&rsquo;s bodies in their works, but the &ldquo;horror-show theatricality of the Viennese&nbsp;S &amp; M school,&rdquo; aka the Actionists,<strong>&nbsp;</strong>and &ldquo;the deadpan masochism of American male body artists&rdquo; like Chris Burden and Vito Acconci. Outside the purview of Lippard&rsquo;s text was the work of German artist J&uuml;rgen Klauke (b. 1943). At the time of Lippard&rsquo;s writing, Klauke was creating darkly humorous photographs burlesquing sexual identity that borrowed liberally from the ideas of theatricality and masochism that Lippard critiques.</p> By Wendy Vogel Fri, 08 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-jrgen-klauke_112344552162.jpg_standalone.jpg Shana Lutker <p>Since 2011, Shana Lutker has been researching the history of Surrealist fistfights, which often resulted from Andre Breton&rsquo;s fractious relationships with other members of his splintering movement. For each fight she devises an installation with physical elements inspired by details of the conflict, as well as the visual language of Surrealism; they are titled as &ldquo;chapters,&rdquo; to hint at&nbsp;<em>Le &ldquo;NEW&rdquo; Monocle</em>,<em>&nbsp;</em>the book she plans to publish when her research&mdash;and the cycle of works&mdash;is complete.</p> By Andrianna Campbell Thu, 07 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-shana-lutker_112833675547.jpg_standalone.jpg This Land Is Your Land: Earthworks on YouTube <p>As&nbsp;<em>A.i.A.</em>&nbsp;senior editor William S. Smith pointed out in his essay on Michael Heizer (whose 1970 installation&nbsp;<em>Actual Size: Munich Rotary</em>&nbsp;is on view at the Whitney Museum of American Art through April 10) our&nbsp;April issue,&nbsp;&ldquo;Land art was photogenic out of necessity . . .&nbsp;&nbsp;images produced in tandem with the construction of giant earthworks could greatly expand the works&rsquo; aesthetic and conceptual range.&rdquo; In that spirit, we&rsquo;ve gathered selection of archival and recent footage of or about iconic earthworks.</p> By Julia Wolkoff Thu, 07 Apr 2016 00:00:00 +0100 /files/2016/04/07/img-sondra-perry-land-art_121840471422.png_standalone.jpg SESC_Videobrasil <p>Founded in 1983 by current chief curator Solange O. Farkas, Videobrasil began as a showcase for Brazilian experiments in video, television and other new media. In the early 1990s, the organization began building a permanent collection and partnered with the nonprofit SESC to stage exhibitions in SESC Pomp&eacute;ia, a Brutalist cultural center designed by Lina Bo Bardi.</p> By Daniel R. Quiles Wed, 06 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-sescvideobrasil_113142146404.jpg_standalone.jpg Zhu Jinshi <p>Zhu Jinshi&rsquo;s first solo exhibition in New York showcased three decades of the artist&rsquo;s paintings in two separate but complementary styles. His &ldquo;allover&rdquo; works cover the canvas completely with paint up to six inches thick. His &ldquo;<em>liu bai&rdquo;</em>&nbsp;works, in comparison, balance the heavy application of paint with areas intentionally left blank.&nbsp;<em>Liu bai</em>&nbsp;(literally, leave white or blank) is a reference to a concept in traditional Chinese aesthetics that describes the artful use of emptiness in a composition.&nbsp;</p> By Daniel M. Greenberg Tue, 05 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-zhu-jinshi_112315790847.jpg_standalone.jpg “To See Without Being Seen: Contemporary Art and Drone Warfare” <p>The latest in a series of exhibitions at the Mildred Lane Kemper Art Museum to explore themes of war and trauma, &ldquo;To See Without Being Seen: Contemporary Art and Drone Warfare&rdquo; is compelling and unexpectedly beautiful. Featuring a small selection of works at once oblique and didactic, the show fascinates because its central objects&mdash;military drones&mdash;are evoked without ever clearly appearing.</p> By Gavin Kroeber Mon, 04 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-to-see-without-being-seen_112940800324.jpg_standalone.jpg Overview: From The Margins <p>In a 2009 Tate roundtable discussion, curator Anda Rottenberg, formerly the director of Warsaw&rsquo;s Zachęta&mdash;National Gallery of Art, remarked on the fate of Polish art in the aftermath of 1989, pointedly noting that the wave of enthusiasm for artists from the &ldquo;other Europe&rdquo; had almost exclusively benefited younger artists, including Paweł Althamer, Wilhelm Sasnal and Artur Żmijewski, who emerged as Communism waned. She suggested that the invisibility of postwar Polish artists on the international stage was rooted in residual Cold War biases, with Western curators assuming that the work of the &rsquo;60s and &rsquo;70s was confined to socialist realist propaganda or neutered by censorship.&nbsp;</p> By Rachel Wetzler Fri, 01 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-from-the-margins-1_112203962624.jpg_wide_hthumb.jpg The Sight of Her <p class="p1">Charlotte Moorman, long known as the &ldquo;Topless Cellist&rdquo; of 1960s-&rsquo;70s performance art, is finally receiving critical and curatorial recognition for her accomplishments as a musician, performer, cultural organizer and avant-garde celebrity.</p> By Drew Daniel Fri, 01 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-moorman-1_132603782954.jpg_wide_hthumb.jpg First Look: Erin Markey <p class="p1">Ignoring boundaries between drama, comedy and performance art, Brooklyn-based Erin Markey writes and acts in works&nbsp;of outrageous theatricality&mdash;including a recent musical about a Michigan girl in love with her family&rsquo;s pontoon boat.</p> By Sean J. Patrick Carney Fri, 01 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-first-look-erin-markey_142656156798.jpg_standalone.jpg Muse: Syncopation <p class="p1">The Albanian-born, Paris-based video artist, currently the&nbsp;subject of an exhibition at the New Museum, New York, reflects on the importance of syncopation&mdash;musical, visual and sociopolitical&mdash;in his life and work.</p> By Anri Sala Fri, 01 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-muse-anri-sala-1_144335103485.jpg_wide_hthumb.jpg The Indiscreet Charm of Fischli and Weiss <p>&ldquo;How to Work Better&rdquo; at the Guggenheim Museum, New York, surveys three decades of collaboration by Swiss artists Peter Fischli and David Weiss, whose sculptures, photos and videos deftly combine absurdity and high seriousness, cleverness and existential angst.</p> By Nancy Princenthal Fri, 01 Apr 2016 00:00:00 +0100 /files/2016/03/24/img-fischli-weiss-1_14525251183.jpg_wide_hthumb.jpg One to One <p>At New York&rsquo;s Whitney Museum, a full-scale 1970 photographic projection by Michael Heizer brings home the immersiveness, the being-there (even if only vicariously), that is essential to the Land art aesthetic.</p> By William S. Smith Fri, 01 Apr 2016 00:00:00 +0100 /files/2016/03/31/img-heizer-1_135124930528.jpg_wide_hthumb.jpg Generation X: Catherine Opie on Robert Mapplethorpe <p>Last November, FotoFocus organized a conference at the CAC to mark the twenty-fifth anniversary of the exhibition and to celebrate members of the city's art community who stood up for Mapplethorpe's work. A high point of the conference was artist Catherine Opie's moving exposition of Mapplethorpe's "X Portfolio" (1978), the series of explicit black-and-white images&mdash;many depicting extreme S&amp;M practices&mdash;that were at the center of the 1989 controversy.&nbsp;</p> By William S. Smith Thu, 31 Mar 2016 00:00:00 +0100 /files/2016/03/31/img-opie_14543659463.png_standalone.jpg