Art in America - Most Recent The most recent items from Art in America. http://www.artinamericamagazine.com Fri, 02 Dec 2016 21:28:05 +0100 FeedCreator 1.7.2 Lynda Benglis http://www.artinamericamagazine.com/reviews/lynda-benglis/ <p>Speaking with a&nbsp;<em>Los Angeles Times</em>&nbsp;reporter in 1989,<strong>&nbsp;</strong>Lynda Benglis expressed her disdain for a Puritan strain of society that, as she put it, &ldquo;gets nervous if things are too pleasurable, too beautiful, or too open.&rdquo; Feminist art&rsquo;s most significant legacy, for her, was a liberation from such circumscribed notions of taste. Her show of new sculptures at Cheim &amp; Read proved that Benglis is still able to run with that freedom, as she has for the past half-century.</p> By Elizabeth Buhe Fri, 02 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-lynda-benglis_111312724300.jpg_standalone.jpg No Going Back: Matt Mullican at Peter Freeman and the Kitchen http://www.artinamericamagazine.com/news-features/news/no-going-back-matt-mullican-at-peter-freeman-and-the-kitchen/ <p>Since the 1970s, Mullican has been constructing an individual language to investigate modes of representation and communication.&nbsp;An exhibition at Peter Freeman, Inc. and two recent performances at The Kitchen rehashed many of the tropes and games that have defined his career.</p> By Samuel Draxler Fri, 02 Dec 2016 00:00:00 +0100 /files/2016/12/01/img-mullican-5_165605566792.jpg_wide_hthumb.jpg São Paulo Bienal http://www.artinamericamagazine.com/reviews/so-paulo-bienal/ <p>Curated by Jochen Volz with Gabi Ngcobo, J&uacute;lia Rebou&ccedil;as,&nbsp;Lars Bang Larsen, and Sofia Olascoaga, the thirty-second edition of the S&atilde;o Paulo Bienal is called &ldquo;Incerteza Viva.&rdquo; The English translation of the title is &ldquo;Live Uncertainty,&rdquo; which evokes an uncertainty that&rsquo;s alive. It also sounds like a prompt urging people to endure amid epistemological instability, or&nbsp;like a cheer&mdash;&ldquo;Long live uncertainty!&rdquo;&mdash;celebrating unknowable otherness.</p> By Brian Droitcour Thu, 01 Dec 2016 00:00:00 +0100 /files/2016/11/21/img-so-paulo-bienal_112506137705.jpg_standalone.jpg Up Close: Buildings Seeking Art http://www.artinamericamagazine.com/news-features/magazine/buildings-seeking-art/ <p>Real estate developer John Portman's model of integrating art into self-contained architectural spaces affects even edgy galleries and funky nonprofits in Atlanta, where artists are often invited to spearhead gentrification.</p> <p>&nbsp;</p> By Victoria Camblin Thu, 01 Dec 2016 00:00:00 +0100 /files/2016/11/28/img-atlanta-john-portman-skyline_133817808060.jpg_wide_hthumb.jpg Everything Is About To Begin http://www.artinamericamagazine.com/news-features/magazine/everything-is-about-to-begin/ <p>Visiting the US in 1966 and 1969, Italy&rsquo;s controversial postwar Renaissance man, Pier Paolo Pasolini, found a rejuvenating energy in his encounters with fellow filmmakers, artists, writers, and activists.</p> By Ara H. Merjian Thu, 01 Dec 2016 00:00:00 +0100 /files/2016/11/28/img-pasolini-1_150052770517.jpg_wide_hthumb.jpg Las Vegas Revisited http://www.artinamericamagazine.com/news-features/magazine/las-vegas-revisited/ <p>Artist, writer, and former <em>A.i.A. </em>editor Brian O'Doherty visits the Neon Museum in a now transformed Las Vegas, searching for the great roadside signs he lauded in a 1972 article.</p> <p>&nbsp;</p> <p>&nbsp;</p> By Brian O'Doherty Thu, 01 Dec 2016 00:00:00 +0100 /files/2016/11/28/img-las-vegas-aia-stardust_132213527283.jpg_wide_hthumb.jpg Atlas Miami: Flotsam from the Future http://www.artinamericamagazine.com/news-features/magazine/atlas-miami-flotsam-from-the-future/ <p>What should citizens&mdash;especially art professionals&mdash;do in response to rising sea levels and other ecological threats in socially fragmented Miami?</p> By Gean Moreno Thu, 01 Dec 2016 00:00:00 +0100 /files/2016/11/28/img-atlas-miami-i_12582372413.jpg_wide_hthumb.jpg Neil Raitt http://www.artinamericamagazine.com/reviews/neil-raitt/ <p>This past summer, the cult television show &ldquo;The Joy of Painting&rdquo; (1983&ndash;94) became available on Netflix, reigniting interest in host and painter Bob Ross, whose soothing voice and iconic Afro accompanied an endearing habit of sprinkling life affirmations and adages into lessons on how to imitate his landscape paintings.</p> By Jennifer S. Li Wed, 30 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-neil-raitt_123352312457.jpg_standalone.jpg Ronald Lockett http://www.artinamericamagazine.com/reviews/ronald-lockett/ <p>The assemblage paintings and sculptural objects of Ronald&nbsp;Lockett (1965&ndash;1998) often depict animals or figures, constructed of found tin and wood, nails, paint, and sealing&nbsp;compound. With titles like&nbsp;<em>Civil Rights Marchers</em>,&nbsp;<em>Hiroshima</em>,&nbsp;<em>Verge of Extinction</em>, and<em>&nbsp;Dream of Nuclear Destruction</em>, the works often address social and environmental themes, and many convey palpable emotion.</p> By David Ebony Tue, 29 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-ronald-lockett_122756698390.jpg_standalone.jpg Sing the Language Electric: Fia Backstrom’s Scripts http://www.artinamericamagazine.com/news-features/news/sing-the-language-electric-fia-backstroms-scripts/ <p>Intensely collaborative, Fia Backstrom's writings, installations, and performances originate from her social context. By adopting personas from an amateur to a bureaucrat, she fluidly challenges prevailing institutional power dynamics within communities of artists and intellectuals.&nbsp;&nbsp;</p> By Sam Korman Tue, 29 Nov 2016 00:00:00 +0100 /files/2016/11/29/img-backstrom-3_112244879257.jpg_wide_hthumb.jpg Francis Alÿs http://www.artinamericamagazine.com/reviews/francis-als/ <p>&ldquo;When the operative system of a society collapses, can art bring about an alternative way of thinking . . . ?&rdquo; Francis Al&yuml;s wrote this question on a notebook page reproduced in the brochure accompanying &ldquo;Ciudad Ju&aacute;rez Projects,&rdquo; his powerful exhibition at David Zwirner in London.</p> By Elizabeth Fullerton Mon, 28 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-francis-als_123440959792.jpg_standalone.jpg Antek Walczak http://www.artinamericamagazine.com/reviews/antek-walczak/ <p>Antek Walczak&rsquo;s pre-9/11 New York is gray: a flat, bored expanse of exploitation. He captures Paris in the same dull palette, but it&rsquo;s New York, with its schizophrenic capitalism, that set the tone for Walczak&rsquo;s &ldquo;Films 1998&ndash;2000,&rdquo; a two-and-a-half-hour looped screening at Real Fine Arts.&nbsp;</p> By Wendy Vogel Wed, 23 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-antek-walczak_123110768679.jpg_standalone.jpg Moving Memorials: “Lost and Found” at Danspace Project http://www.artinamericamagazine.com/news-features/news/moving-memorials-lost-and-found-at-danspace-project/ <p>Last Wednesday's ACT UP meeting was gloomy. Members of the AIDS-awareness activist group had been preparing strategies for actions under a Clinton administration. Amid the confusion, anger, and fear, the longtime members-the ones who joined in 1987, marched, chained themselves to the VIP balcony at the New York Stock Exchange, and continue to fight today-expressed the sense of having been through this before.&nbsp;</p> By Nick Faust Wed, 23 Nov 2016 00:00:00 +0100 /files/2016/11/23/img-danspace-i_112845311223.jpg_wide_hthumb.jpg SITElines http://www.artinamericamagazine.com/reviews/sitelines/ <p>A wall-size photograph of the amphitheater welcomes visitors to the galleries of SITE Santa Fe, which has organized a biennial since it opened in 1995. &ldquo;SITElines.2016: much wider than a line&rdquo; is the second edition of a rebooted version of the biennial, which now exclusively focuses on art from the Americas rather than offering a more international purview.</p> By Jonathan Griffin Tue, 22 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-sitelines-1_123308588548.jpg_wide_hthumb.jpg Caitlin Keogh http://www.artinamericamagazine.com/reviews/caitlin-keogh/ <p>Who edits the&nbsp;<em>Harper&rsquo;s Magazine</em>&nbsp;&ldquo;Readings&rdquo; section? The publication&rsquo;s masthead doesn&rsquo;t say, but I like to imagine that it&rsquo;s a single person with exquisite and wide-ranging taste. He or she collects an array of literary clippings under the subheadings &ldquo;Dialogue,&rdquo; &ldquo;Prescriptions,&rdquo; &ldquo;Fiction,&rdquo; and, ironically, &ldquo;Confession,&rdquo; among others.</p> By Sam Korman Mon, 21 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-caitlin-keogh_123050484866.jpg_standalone.jpg Guillaume Pilet http://www.artinamericamagazine.com/reviews/guillaume-pilet/ <p>The central character in the exhibition &ldquo;An Atlas of Dramas&rdquo; by Lausanne-based Guillaume Pilet (b. 1984) greeted the visitor with open arms. Formed from lumpy grayish polyurethane foam, and just short of six feet high, the cartoonish figure of&nbsp;<em>Introducing Heliodorus</em>&nbsp;(2016) sits on its posterior with its arms and legs spread. Its head is a huge disc with large round holes for eyes. The figure was situated in front of a freestanding, curved painting that looks like a stage set.&nbsp;</p> By Aoife Rosenmeyer Fri, 18 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-guillaume-pilet_123530705199.jpg_standalone.jpg Leslie Hewitt http://www.artinamericamagazine.com/reviews/leslie-hewitt-1/ <p>On view in Leslie Hewitt&rsquo;s recent exhibition at SculptureCenter,&nbsp;an untitled 2012 installation consists of white metal sheets that have been dog-eared or otherwise folded. The sheet-metal sculptures&mdash;some standing upright, some laid on the ground with a single part bent upward&mdash;appear to alternate between three and two dimensions as viewers circumnavigate them and look from different angles.&nbsp;</p> By Abbe Schriber Thu, 17 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-leslie-hewitt_123022638116.jpg_standalone.jpg Berry Horton http://www.artinamericamagazine.com/reviews/berry-horton/ <p>In order to forestall harassment from local authorities, Redbud posted a sign in the gallery window reading notice: erotic material during its recent show of work by little-known Chicago artist Berry Horton (1917&ndash;1987). This notice might have seemed unnecessary to visitors who viewed only the ink-brush drawings of female nudes in the gallery&rsquo;s main space.</p> By Raphael Rubinstein Wed, 16 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-berry-horton_123227418886.jpg_standalone.jpg Mariam Ghani http://www.artinamericamagazine.com/reviews/mariam-ghani/ <p>When Brooklyn-based artist<strong>&nbsp;</strong>Mariam Ghani arrived in St. Louis in 2014 to begin a yearlong fellowship at Washington University, the city was deep in mourning over the loss of Michael Brown, the African-American man whose controversial killing by a white police officer in the northern suburb of Ferguson galvanized the Black Lives Matter movement.</p> By David Markus Tue, 15 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-mariam-ghani_12295971678.jpg_standalone.jpg Franz Erhard Walther http://www.artinamericamagazine.com/reviews/franz-erhard-walther/ <p>German artist Franz Erhard Walther&rsquo;s interactive sculptures, made using primarily cloth, do not merely restrict bodily movement. They also direct users&rsquo; attention to the way their bodies relate to objects and how rapport develops between multiple participants.</p> By Milena Tomic Mon, 14 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-franz-erhard-walther_123413655483.jpg_standalone.jpg Investigative Activity: An Interview with Joshua Abelow http://www.artinamericamagazine.com/news-features/interviews/investigative-activity-an-interview-with-joshua-abelow/ <p>Before we met in person, I met Joshua Abelow by reading his online diary, Art Blog Art Blog. I learned about his art viewing habits through the daily, sometimes hourly posts, featuring canonical, obscure, and emerging artists (myself included). He posted music, literary quotes, videos, and his constant documentation of gallery exhibitions around New York.&nbsp;</p> By Ross Simonini Mon, 14 Nov 2016 00:00:00 +0100 /files/2016/11/14/img-joshua-abelow-interview-1_172655585307.jpg_wide_hthumb.jpg Etel Adnan http://www.artinamericamagazine.com/reviews/etel-adnan-1/ <p>At the entrance to Etel Adnan&rsquo;s survey exhibition at the Serpentine Gallery, &ldquo;The Weight of the World,&rdquo; were three large-scale tapestries from 2015 and 2016 depicting natural themes in joyful splashes of color&mdash;the sea at low tide, an autumn forest, and foliage perceived as, according to the work&rsquo;s title, &ldquo;springtime acrobatics.&rdquo;&nbsp;</p> By Elizabeth Fullerton Fri, 11 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-etel-adnan_123459186506.jpg_standalone.jpg Performance on the Edge: The Crossing the Line Festival http://www.artinamericamagazine.com/news-features/news/performance-on-the-edge-the-crossing-the-line-festival/ <p>For its tenth season, the Crossing the Line<em>&nbsp;</em>festival, presented by the French Institute Alliance Fran&ccedil;aise, included films, dance, and interdisciplinary pieces performed across such disparate locations as a conference room in the Henry Street Settlement to Federal Hall in Lower Manhattan. Central to the festival's mission is the goal of creating an event in which New York City serves as a stage and where various types of venues, both traditional and alternative, allow for a range of experiences.</p> By Eric Sutphin Fri, 11 Nov 2016 00:00:00 +0100 /files/2016/11/09/img-crossing-the-line-i_123648473616.jpg_wide_hthumb.jpg Lee Kit http://www.artinamericamagazine.com/reviews/lee-kit/ <p>"Who sees me naked, and who spends time alone with me in the bathroom? Johnson &amp; Johnson. Nivea.&rdquo; This is how Lee Kit, Hong Kong&rsquo;s representative at the 2013 Venice Biennale, discusses the personal hygiene product logos in the paintings that unassumingly populated his Walker exhibition, &ldquo;Hold your breath, dance slowly&rdquo;: as bespeaking a level of comfort and intimacy, while also hinting at the ways in which commercial interests infiltrate our living spaces.</p> By Godfre Leung Thu, 10 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-lee-kit_123204555830.jpg_standalone.jpg The Future is Behind Us: The Work of Jaret Vadera http://www.artinamericamagazine.com/news-features/news/the-future-is-behind-us-the-work-of-jaret-vadera/ <p>Interdisciplinary artist Jaret Vadera often juxtaposes the way individuals imagine themselves against the way others imagine them. For Vadera, the reality of identity is not static. It cannot be reduced to a political equation or an overgeneralization. His interrogation into what it means to exist beyond binary notions of identity is extremely relevant in this twenty-first-century moment of transition in the American psyche, where conversations on intersectionality abound.</p> By Diana McClure Thu, 10 Nov 2016 00:00:00 +0100 /files/2016/11/09/img-vadera-i_130512656954.jpg_wide_hthumb.jpg László Moholy-Nagy http://www.artinamericamagazine.com/reviews/lszl-moholy-nagy/ <p>L&aacute;szl&oacute; Moholy-Nagy was a young Constructivist in Berlin when, in 1923, he accepted the architect Walter Gropius&rsquo;s invitation to teach at the Bauhaus in Weimar. Moholy-Nagy&rsquo;s democratic embrace of new technologies and mediums had a colossal influence on the school&rsquo;s direction and legacy&mdash;and, thus, on modern visual culture.</p> By Austin Considine Wed, 09 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-lszl-moholy-nagy_122243240694.jpg_standalone.jpg Amalie Jakobsen http://www.artinamericamagazine.com/reviews/amalie-jakobsen/ <p>Denmark-born, Berlin-based artist Amalie Jakobsen&rsquo;s metal sculptures bear minor irregularities that contradict the works&rsquo; smooth, crisp angles. From a distance, two linked aluminum triangles (all works untitled and dated 2016) appear as sharp as origami and as finished as Minimalist sculpture.&nbsp;</p> By Lauren DeLand Tue, 08 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-amalie-jakobsen_123148967927.jpg_standalone.jpg Election 2016: The Spin Zone http://www.artinamericamagazine.com/news-features/magazine/election-2016-the-spin-zone/ <p><em>A.i.A. </em>responds to the US presidential showdown with a satiric essay by artist and writer Walter Robinson and political cartoons by seven art-world stalwarts: Ida Applebroog, Rashid Johnson, Peter Saul, Jim Shaw, Nayland Blake, and Antoni Muntadas and Marshall Reese.</p> By Walter Robinson Tue, 08 Nov 2016 00:00:00 +0100 /files/2016/11/08/img-walter-robinson-intro_124529223896.jpg_standalone.jpg Keegan Monaghan http://www.artinamericamagazine.com/reviews/keegan-monaghan/ <p>The interminably nosy among us felt right at home in &ldquo;You decide to take a walk,&rdquo; Keegan Monaghan&rsquo;s solo debut at On Stellar Rays. The show&rsquo;s title work, the lone sculpture, stood in the center of the gallery surrounded by five paintings (all works 2016). The full-size purple desk and accompanying office chair in the sculpture appear weighty but are actually made of foam.</p> By Julia Wolkoff Mon, 07 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-keegan-monaghan_12281547213.jpg_standalone.jpg Seeds of Resistance: Complex Movements in Detroit http://www.artinamericamagazine.com/news-features/news/seeds-of-resistance-complex-movements-in-detroit/ <p>As powers that be move to reorganize Detroit, what becomes of the communities who have held it together through a time of abandonment? What becomes of the individuals who cannot conform to the new order? What place, what tools, what vestige of old Detroit, a suffering but sovereign city, remain for them?&nbsp;</p> By Sarah Rose Sharp Mon, 07 Nov 2016 00:00:00 +0100 /files/2016/11/07/img-botd-1_142342254476.jpg_wide_hthumb.jpg Nathalie Du Pasquier http://www.artinamericamagazine.com/reviews/nathalie-du-pasquier/ <p>Rather than organizing the works in Nathalie Du Pasquier&rsquo;s exhibition &ldquo;Big Objects Not Always Silent&rdquo; chronologically or thematically, artist and curator Luca Lo Pinto has positioned them intuitively, producing a show that unfolds like a game of hide-and-seek.</p> By Karin Bellmann Fri, 04 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-nathalie-du-pasquier_123552218035.jpg_standalone.jpg Time Travelers: Black Quantum Futurism in Philadelphia http://www.artinamericamagazine.com/news-features/news/time-travelers-black-quantum-futurism-in-philadelphia/ <p>The art collective Black Quantum Futurism&mdash;Rasheedah Phillips and Camae Ayewa&mdash;is creating a different kind of time capsule in North Philadelphia. Under the title&nbsp;<em>Time and Memory in North Philly,</em>&nbsp;they are assembling a vision of life with the residents of a marginalized neighborhood undergoing a dramatic city-led redevelopment. The project will result in a time capsule whose exact form is yet to be determined.</p> By Michael McCanne Fri, 04 Nov 2016 00:00:00 +0100 /files/2016/11/03/img-black-quantum-futurism-1_180828720098.jpg_wide_hthumb.jpg Roberto Burle Marx http://www.artinamericamagazine.com/reviews/roberto-burle-marx/ <p>You may know the work of Roberto Burle Marx (1909&ndash;1994) without even realizing it. If you have ever marveled at the sweeping grandeur of Copacabana Beach in Rio de Janeiro, you&rsquo;ve seen his iconic design for the promenade running alongside it.</p> By Alan G. Brake Thu, 03 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-roberto-burle-max_122732385243.jpg_standalone.jpg Gwangju Biennale http://www.artinamericamagazine.com/reviews/gwangju-biennale/ <p>&ldquo;A tool, not a monument&rdquo;: this is how the artist Dora Garc&iacute;a describes what she sought to create with the bookstore installation that is her commissioned contribution to the latest Gwangju Biennale, directed by the Swedish curator and critic Maria Lind.&nbsp;<em>Nokdu Bookstore for the Living and the Dead</em>&nbsp;(2016) re-creates in a plywood structure&mdash;a few paces past the entrance to the exhibition&rsquo;s first gallery&mdash;the small bookseller that, in the 1970s, &ldquo;incubated and hatched&rdquo; a culture of dissent vital to a historically significant political revolt in Gwangju.</p> By Mostafa Heddaya Wed, 02 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-gwangju-biennale_123618275904.jpg_standalone.jpg Atlas Stavanger: Norwegian Tags http://www.artinamericamagazine.com/news-features/magazine/atlas-stavanger-norwegian-tags/ <p>British-born artist Martyn Reed&rsquo;s annual NuArt Festival has made street art a dominant force in Norway&rsquo;s fourth-largest city.</p> By Geir Haraldseth Tue, 01 Nov 2016 00:00:00 +0100 /files/2016/10/20/img-atlas-stavanger-1_153200644417.jpg_wide_hthumb.jpg Cinema: Film Brut http://www.artinamericamagazine.com/news-features/magazine/cinema-film-brut/ <p>Wang Bing&rsquo;s long-duration films scrutinize life on the economic margins of his native China.</p> By Travis Jeppesen Tue, 01 Nov 2016 00:00:00 +0100 /files/2016/10/20/img-wang-bing-1_160324895243.jpg_wide_hthumb.jpg Terminal Velocity http://www.artinamericamagazine.com/news-features/magazine/terminal-velocity/ <p>Josh Kline&rsquo;s dystopian installations, rife with mannequins and 3D-printed body parts, predict a future of ever greater social and economic precarity.</p> By Brian Droitcour Tue, 01 Nov 2016 00:00:00 +0100 /files/2016/10/20/img-josh-kline-1_162209849762.jpg_wide_hthumb.jpg LIFE: ★★★½ http://www.artinamericamagazine.com/news-features/magazine/life-/ <p>Following a 1963 debut in New York, pioneer text painter Gene Beery took up a semi-reclusive life in central California. Idiosyncratic and ever productive, he has become a seminal figure for many young artists.</p> By Nick Irvin Tue, 01 Nov 2016 00:00:00 +0100 /files/2016/10/20/img-gene-beery-1_165026598781.jpg_wide_hthumb.jpg A.R. Penck http://www.artinamericamagazine.com/reviews/ar-penck/ <p>German artist A.R. Penck&rsquo;s paintings from the late 1960s and &rsquo;70s, which display stick figures and rudimentary markings, are today widely regarded as emblems of postwar existential angst and Cold War discontent.&nbsp;</p> By David Ebony Tue, 01 Nov 2016 00:00:00 +0100 /files/2016/10/24/img-ar-penck_122304218055.jpg_standalone.jpg Martin Creed http://www.artinamericamagazine.com/reviews/martin-creed/ <p class="p1">Martin Creed wants you to fuck off. He says as much in&nbsp;<em>Work No. 1358:</em>&nbsp;<em>Fuck Off</em>&nbsp;(2012), in which an illuminated screen goes dark the moment the piece begins and a minute-long, post-punk-style audio track performed by Creed and his band plays. The only lyrics: &ldquo;fuck&rdquo; and &ldquo;off.&rdquo; The phrase has at least two meanings. Is he cranky and provoking us? Or does he want us to have fun and stop taking ourselves so seriously? As inferred from the British artist&rsquo;s retrospective at the Park Avenue Armory, the answer is probably both.</p> By Austin Considine Mon, 31 Oct 2016 00:00:00 +0100 /files/2016/09/26/img-martin-creed_15104257463.jpg_standalone.jpg