It seems difficult to reevaluate Robert Mapplethorpe’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...
“How to Work Better” 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...
In the midst of San Francisco’s DIY art scene, architect David Cunningham’s project space (2007-10) fostered unfettered experimentation and a joyous sense of community.
In our September 2011 issue, art historian Sue Taylor tackled the subject of Malvina Hoffman's infamous Field Museum bronzes in a book review of Marianne Kinkel's Races of Mankind: The Sculptures of Malvina Hoffman.
Stuart Comer is chief curator of media and performance at the Museum of Modern Art in New York. He recently spoke with A.i.A. about 10 of New York's most noteworthy spaces, exhibitions and projects in 2015.
A basic appreciation of abstract painting might begin with allowing oneself to be seduced by the formal elements of composition—color, shape, line and texture. To be actually moved by such work, emotionally pulled in, one has to be accepting of—if not...
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.
Three specialists weigh the pros and cons of the first installment of the Whitney Museum’s controversial two-part blockbuster, "The American Century: Art & Culture 1900-2000."
Arthur Ou's thoughtful exhibition features a series of black-and-white photographs of photographers thinking. The artist documented friends and colleagues reading Ludwig Wittgenstein's Tractatus Logico-Philosophicus. The title of each work names the...
Painter and art historian Jonathan Weinberg remembers the crumbling Hudson River piers of the 1970s and '80s, a zone of gay cruising and maverick art projects, predating today's gentrification and new Whitney.
A.i.A. editors suggest a few of the myriad events taking place in New York this week: Richard Maxwell's new play at the Kitchen; a lecture with photographer Carrie Mae Weems at NYU Steinhardt; BAMcinématek's "New Voices in Black Cinema" series; a...
The new galleries provide 43,000 square feet—a 40 percent increase—to house the three collections and 5,000 square feet of special exhibition space.
Every element of this Christopher Williams retrospective—from the lucid photographs he has made over the past 35 years to the exhibition architecture to the catalogue to the press release—can be considered part of his artistic output.
Titled "How to (...) things that don't exist," the biennial will, the organizers say, take on a research-based approach with open meetings on art and society rather than settling on a specific theme.
The paradoxical multi-medium work of Thomas Kovachevich is incredibly permissive in the company of viewers.
Robert Heinecken (1931-2006) was an artist who put the medium of photography through the wringer.
An exhibition that highlights the Dutch artist's penchant for repeating images prompts new thoughts on his relevance in the 21st century.
Glance at the bookshelf of many an art or architecture historian and you're likely to see something designed by Muriel Cooper (1925-1994)—if not the cover or layout of a particular tome, then the distinctive seven-bar logo of the MIT Press.