Art in America - Most Recent Features

Tatiana Trouve

By Francesca Pietropaolo — Mon, 01 Mar 2010 00:00:00 +0100

In her installations, sculptures and drawings, the Paris-based artist Tatiana Trouvé tackles the uncertain boundaries of fiction and reality, the mental and the physical, and explores notions of time, space and memory.

Overwhelmed

By Peter Plagens — Mon, 22 Feb 2010 00:00:00 +0100

It’s quixotic, not to say risky, to try to derive broad cultural conclusions from a day’s sweep of the galleries in Chelsea—or anyplace where there are more than a half-dozen of them within walking distance of one another. Then again, it’s borderline nonsensical not to.

Xing Danwen

By Richard Vine — Fri, 05 Feb 2010 14:46:56 +0100

A nomadic Chinese photographer brings to light her private images from the wild-youth days of Beijing’s 1990s avant-garde.

Simon Starling

By Anne Rochette, Wade Saunders — Mon, 01 Feb 2010 00:00:00 +0100

In his antic romps through history, Simon Starling sometimes takes chancy leaps of logic. His installations are all the more vivid, and elegant, for the risks he courts.

Urs Fischer

By Faye Hirsch — Fri, 01 Jan 2010 00:00:00 +0100

Urs Fischer has trumped the New Museum’s ungainly interiors in installations replete with art-historical resonance and formal sleight of hand.

Production Values

By Peter Plagens — Fri, 01 Jan 2010 00:00:00 +0100

Cinephiles who also frequent art galleries might call it the “Michael Cimino Effect,” except that in the art world it proceeds more slowly, and the bottom line isn’t quite so, well, bottom line.

Dexter Dalwood

By David Coggins — Fri, 01 Jan 2010 00:00:00 +0100

In advance of a survey show at Tate St. Ives, the painter discusses the heterogeneous sources for his distinctive history painting.

In the Studio: Wayne Gonzales

By Steel Stillman — Tue, 01 Dec 2009 00:00:00 +0100

The painter Wayne Gonzales messes with our expectations. He cracks open images we think we already know and injects them with subversive sensuality and doubt. Born in New Orleans in 1957, and growing up there in the '60s, when rumors surrounding the JFK assassination hung thick in the air, Gonzales developed a sensitivity to secrets and coincidence.

Shape Shifter: Lynda Benglis

By Julian Kreimer — Tue, 01 Dec 2009 00:00:00 +0100

A 40-year retrospective traveling in Europe and the U.S. invites a consideration of Lynda Benglis's critical position in relation to the art of her contemporaries, and her continuing significance for younger artists today.

Bauhaus Curriculum

By Susan Tallman — Tue, 01 Dec 2009 00:00:00 +0100

Ninety years after Walter Gropius diagrammed the Bauhaus curriculum, an exhibition in Chicago reactivates some pedagogical tenents of the pioneering modernist institution.

Object Lessons From The Bauhaus

By Joan Ockman — Tue, 01 Dec 2009 00:00:00 +0100

A show at New York’s MoMA, focusing on the well-known rationalist aspects of the Bauhaus, presents only part of the famous school’s complex history. What’s the rest of the story?

Party of Two

By Nancy Princenthal — Thu, 12 Nov 2009 00:00:00 +0100

Tandem surveys of the Harun Farocki and Rodney Graham’s socially alert, photo-based work offered some strikingly productive contrasts.

Mike Kelley

By Carly Berwick — Thu, 12 Nov 2009 00:00:00 +0100

Finding echoes of early avant-garde experimentation in the noise music he favors, Kelley talks about his own work and the musicias he is bringing together for Performa 09.

Duke of Hazards

By Brian Boucher — Thu, 12 Nov 2009 00:00:00 +0100

Duke Riley presented New York with its hottest—or at least its wettest—contemporary art event of the summer.

Janine Antoni

By Douglas Dreishpoon — Fri, 23 Oct 2009 11:14:06 +0100

Antoni talks about her current work, which includes a gargoyle adapted for "personal" use and a spiderweb recast as wearable dollhouse.

A Tribute to Merce

By Tacita Dean — Fri, 23 Oct 2009 00:00:00 +0100

When Merce Cunningham died last July at age 90, A.i.A. asked Tacita Dean, the last in a distinguished line of visual artists who collaborated with the legendary choreographer, to reflect on her experience of working with the master.

Paul Outerbridge

By Marvin Heiferman — Fri, 23 Oct 2009 00:00:00 +0100

An elegant formalist and commercial pioneer, Paul Outerbridge perfected the art of the pitch.

John Baldessari

By Karen Wright — Fri, 23 Oct 2009 00:00:00 +0100

On the occassion of the retrospective opening at Tate Modern, the American icon reflects on his signature occupations: tilting against pretension, teaching without telling students what to do, trying to find "art bedrock."

Pinault’s Value-Based Initiative

By Gregory Volk — Fri, 18 Sep 2009 16:47:49 +0100

Until recently, Venice’s Punta della Dogana was a derelict building with a storied past. At the tip of Dorsoduro, next to the Baroque church of Santa Maria della Salute and across the Grand Canal from Piazza San Marco, this triangular, formerly bustling customs house dating to the 17th century constituted a perplexing anomaly: a highly visible but disused building in a prime locale. Repeatedly, plans to give it a fresh identity had run aground.

Sigmar Polke

By Stephen Westfall — Fri, 18 Sep 2009 16:34:29 +0100

In his new “Lens Paintings,” Polke reprises, and compounds, long-favored themes: gestural painting and mechanical reproduction, transparency and illusion, science and magic.