Art in America - Most Recent Features

Woven Into History

By Gregory Galligan — Wed, 08 May 2013 00:00:00 +0100

In elegant sculptures and grid reliefs made of bamboo and rattan, Cambodia's Sopheap Pich engages his homeland's perpetually conflicted condition.

Going Home

By Robert Atkins — Tue, 07 May 2013 00:00:00 +0100

Robert Arneson's virtuosic ceramic bust of slain San Francisco mayor George Moscone is a reminder that occasionally you can go home again.

In the Studio: Stephen Prina

By Steel Stillman — Mon, 06 May 2013 00:00:00 +0100

Stephen Prina is an art polymath whose mediums include drawing, painting, sculpture, photography, installation, video and film. He is also a composer and musician who has interpreted works by Beethoven, Schoenberg, Sonic Youth, Steely Dan and many others.

Euro Crisis Hits Museums

By Nina Siegal — Fri, 03 May 2013 00:00:00 +0100

European cultural subsidies have long been the envy of American artists and arts organizations. But over the last two years, as austerity-minded conservative governments took office against the backdrop of a deepening fiscal crisis, countries across Europe have targeted the arts for severe cuts.

Creativity and Commerce

By Douglas Dreishpoon — Wed, 01 May 2013 00:00:00 +0100

The relationship between creativity and commerce has always been vexed—perhaps never more so than today.

The Nothing Act

By Paul David Young — Fri, 05 Apr 2013 00:00:00 +0100

Alix Pearlstein thwarts her actors' standard techniques in order to heighten a viewer's awareness of video-mediated perception.

Birth Pangs of a Biennial

By Ranjit Hoskote — Thu, 04 Apr 2013 00:00:00 +0100

The Kochi-Muziris Biennale (KMB), presented as "India's first biennial," survived the crisis that threatened to capsize its inaugural edition.

Reading With One Eye Closed

By Ken Johnson — Tue, 02 Apr 2013 00:00:00 +0100

Since my preview of "The Female Gaze" and my review of "Now Dig This!" are readily available online at the New York Times website and elsewhere, I hope readers will judge for themselves whether or not the Nov. 23 petition and David Levi Strauss's commentary in last month's Art in America fairly represent what I wrote and what I think. I do not believe they do.

When Formalist Criticism Fails

By David Levi Strauss — Tue, 02 Apr 2013 00:00:00 +0100

The New York Times published a review by Ken Johnson of the exhibition "Now Dig This! Art and Black Los Angeles 1960-1980" at New York's MoMA PS1.

In the Studio: Wael Shawky

By Faye Hirsch — Mon, 01 Apr 2013 00:00:00 +0100

Wael Shawky's one-hour video Cabaret Crusades: The Path to Cairo (2012) features intermittent close-ups of taut strings quivering in a fire-lit night.

High Style, Clear Form, Sharp Edge

By Nancy Princenthal — Mon, 11 Mar 2013 00:00:00 +0100

Embracing myriad forms of experimental art and criticism in the 1970s and ’80s, Scott Burton brought a precise yet idiosyncratic intelligence to every project he undertook.

The Clintons

By Kate Gilmore — Fri, 08 Mar 2013 00:00:00 +0100

I GREW UP IN THE D.C. suburbs, in Maryland. My mother worked for the government, and my dad’s business often dealt with government.

The Last Testament of Ken Price

By Brian Boucher — Thu, 07 Mar 2013 00:00:00 +0100

A posthumous traveling retrospective confirms the sculptor’s role in boosting the status of ceramics over the past five decades.

Beyond the Rose

By Matthew Nichols — Fri, 01 Mar 2013 00:00:00 +0100

A current retrospective shifts focus to the work— in a surprising range of mediums—that Jay DeFeo created before and after her best-known painting.

Neo-Expressionism Not Remembered

By Raphael Rubinstein — Mon, 11 Feb 2013 00:00:00 +0100

In the early 1980s, Art in America hosted a debate on emerging Neo-Expressionist art. Now, after three contentious decades, history seems to have declared a winner. But don’t be too sure.

Museums in Flux

By Merlin James — Tue, 05 Feb 2013 00:00:00 +0100

MUSEUMS IN GLASGOW, as in other cities, are often battlegrounds for ideological conflict, as well as barometers of economic and political pressure.

Adriana Lara

By Kayla Guthrie — Fri, 01 Feb 2013 00:00:00 +0100

IN SEVERAL LARGE WORKS, a black-and-white image of a woman’s face appears printed on clear plastic wrapped around wood stretchers. Keyboard symbols—! % @ & *—are superimposed on her features as she poses: looking skyward as if praying; gazing at the camera hypnotically; cool and unsmiling like a French New Wave actress.

Joanna Malinowska In The Studio

By Elisabeth Sussman — Fri, 01 Feb 2013 00:00:00 +0100

Born in Gdynia, Poland, in 1972, Malinowska came to the U.S. in 1994. Attending Rutgers University, she majored in art but was also keenly interested in cultural anthropology, which has proved to be important to her subsequent work. After graduating from Rutgers in 1998, she went on to receive her MFA from Yale in 2001. Over the past dozen years, throughout a diverse practice that crosses mediums—from video to monumental sculpture and installation—she has maintained a consistent interest in cultures that are not her own, and in something that we might say is beyond any boundary.

Requiem for a Pioneer

By Ranjit Hoskote — Thu, 27 Dec 2012 00:00:00 +0100

TO RUN INTO KEKOO GANDHY, whether at his old Gallery Chemould—on the first floor of the Jehangir Art Gallery, Bombay—or more recently, at its succes- sor, Chemould Prescott Road, directed by his daughter Shireen, was to be drawn instantly into his latest scheme for sweeping reform in India’s art institutions.

Painting in the Age of Digital Reproduction

By Klaus Kertess — Thu, 27 Dec 2012 00:00:00 +0100

In his first museum survey, Wade Guyton upends categorical conventions of painting, print, sculpture and installation.