Art In America

John Divola

Studying in Los Angeles in the early 1970s under Robert Heinecken, John Divola encountered Abstract Expressionism as a photographic phenomenon.

Richard Nonas

Richard Nonas treats space as a material: a medium, like plaster or plywood, to be orchestrated rather than simply occupied. 

Sarah Charlesworth

Sarah Charlesworth's series "Objects of Desire" (1983-86) takes reality as something bracketed by quotation marks: a fiction, according to postmodernist critic Craig Owens, produced and sustained by its representation as image. 

Lygia Clark

Seen after a tour of the Museum of Modern Art's permanent collection, "Lygia Clark: The Abandonment of Art, 1948-1988" inspired a sense of déjà vu.

Luke Stettner

Argentinian author Jorge Luis Borges imagined language as an endless metaphor. At the heart of language, he surmised, was an attempt to collapse two incommensurable orders, the experiential and the symbolic, the alignments of which could only be...

Phanos Kyriacou

One of the more arresting objects in Cypriot artist Phanos Kyriacou's New York debut was a small monitor, placed on the floor, playing a video depicting the snout of a sleeping dog.

Konrad Lueg

From 1963 to 1967, Konrad Fischer, Düsseldorf art dealer and main European conduit for New York's neo-avant-garde, moonlighted as the artist Konrad Lueg. 

Aaron Flint Jamison

There's a cultivated obscurity to Aaron Flint Jamison's practice, a hermeticism that borders on mysticism. 

Leslie Hewitt

For Leslie Hewitt, the photograph is a schizophrenic thing, alighting somewhere among image, surface and object.

Wolfgang Tillmans

"From Neue Welt," the title of Wolfgang Tillmans's latest show at Andrea Rosen, was inspired by Albert Renger-Patzsch's 1928 photo book, Die Welt ist schön (The World Is Beautiful).

In the Studio: Kristin Lucas

On Oct. 5, 2007, in an Alameda County, Calif., courthouse, Kristin Sue Lucas became Kristin Sue Lucas. The redundancy of this "name change" was precisely the point, reflecting the artist's desire to reload her identity as one would a webpage,...

Frozen Lakes

In the fall of 1977, images became "pictures."

Playing Telephone: An Interview with Amalia Pica

Images associated with listening-cups pressed to the wall, a makeshift antenna, earplugs cast in metal-thread through the work of London-based, Argentinian-born artist Amalia Pica. It's an unusual preoccupation, particularly for an artist whose...

How to Do It with HUO and Massimiliano GIoni

The New Museum's survey, "NYC 1993," furnished the discussion's broader frame. Curated by Gioni and three of his colleagues, the show distills one particularly decisive (and divisive) year in the New York art world. Its fulcrum was the Whitney...

A Year in Notes: Q+A with Richard Birkett

The Annual's seventh edition, up through late February, is the effort of Richard Birkett, a transplant to New York from London and the curator at Artists Space. As in previous iterations, the installation is dense and deliberately open-ended....

Frustrating Desires: Q+A with Martha Rosler

Conceptual artist, political activist and cultural theorist Martha Rosler held her first garage sale in 1973 in the art gallery of the University of California at San Diego, where she was then a graduate student. Publicizing the event in local...

In Kiev, Award Anxiety

Carolyn Christov-Bakargiev was quick to dispel notions of a "return to painting," as in the 1980s vogue for neo-geo and expressionist styles. Speaking for her fellow jurors, she criticized the unnaturalness of awarding prizes to artists and...

In-Camera: Q+A with Zoe Leonard

For her first show at Murray Guy in New York, Zoe Leonard turned half the gallery into a camera obscura in order to consider photography anew. The fourth installation in an ongoing series, Leonard's lens, 453 West 17th Street (2012), cast an...

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