Art In America

The Drug of Abstraction: An Interview with Beverly Fishman

Beverly Fishman creates powerful abstract paintings that address technology and the pharmaceutical industry. Fishman lives and works in Detroit, where she teaches painting at the Cranbrook Academy of Art. She spent a sabbatical in New York last year,...

Sadie Benning

Sadie Benning’s exhibition “Green God” took over Callicoon Fine Arts on the Lower East Side and Mary Boone in Midtown with two dozen works (all 2015 or 2016) that hover ambiguously between sculpture and painting. Each was constructed from various...

Mary Heilmann

It was palpably clear from her Whitechapel Gallery retrospective that Mary Heilmann had initially trained as a sculptor—and not just because the earliest piece on display, The Big Dipper (1969), was a work in clay, one whose hand-molded ladle shape...

Muse: The Darkroom

Alison Rossiter, known for her work with expired photographic papers, has been enamored of the darkroom experience since her first technical class in 1970.

Varieties of Reclamation

Rosalyn Drexler has managed, over the past sixty years, to produce innovative paintings and sculptures that deftly combine pop images with cool formalist devices.

Trust Lust

Art collector and self-taught painter William N. Copley translated his love of Surrealism into bright, cartoonish canvases devoted to everyday objects and scenes of good-natured raunch.

Local Largesse: Collected in San Francisco

Over the weekend, Bay Area residents got a first look inside a $305-million addition to the San Francisco Museum of Modern Art (SFMOMA). The new ten-story building, clad with a rippling, glacier-like facade and designed by the Norwegian firm Snøhetta,...

Ellsworth Kelly

Although Ellsworth Kelly, who died at age ninety-two in December, insisted that the black-and-white photographs he took were not studies for his hard-edge paintings or Minimalist sculptures, it’s hard not to see echoes of the oddly shaped windows,...

Josiah McElheny

Josiah McElheny has never been content with his widely acknowledged status as a master craftsman in the medium of glass. His approach has been consistently that of an experimental sculptor and installation artist. In “Josiah McElheny: Paintings,” he...

Lines of Thought

Examining Agnes Martin's traveling retrospective, her recent biographer considers how the formal and spiritual universals the painter sought arose out of the personal conditions she suppressed.

Philippe Vergne on Nasreen Mohamedi

As part of the Annual Guide to Galleries, Museums and Artists (A.i.A.'s August issue), we preview the 2014-15 season of museum exhibitions worldwide. In addition to offering their own top picks, our editors asked select artists, curators and...

Valentin Dommanget

In the Aladdin’s cave that is contemporary art, painting and its many traditions have long coexisted alongside more innovative approaches to art-making, notably those offered by new technologies. The young French artist Valentin Dommanget strives to...

Forever Young or New Zombies? MoMA on Painting Today

As its paradoxical title cautions, an upcoming survey of contemporary painting at New York's Museum of Modern Art, "The Forever Now: Contemporary Painting in an Atemporal World," is full of contradictions.

Skowhegan School Unveils Permanent Manhattan Outpost

Almost 70 years after its foundation, the Skowhegan School of Painting & Sculpture has secured a permanent home in New York's Chelsea neighborhood. The new 5,000-square-foot space provides the school with programming and event space, storage space...

A Private Passion Goes Public: Stanford’s Anderson Collection

Stanford University, a hub of innovative entrepreneurship in Silicon Valley and the origin of the "sharing economy" (think Uber and Airbnb), is now home to a magnificent example of art sharing. The Anderson Collection, a new museum that is part of...

Matt Connors

A freestanding, 14-foot-tall, canary yellow wall greeted visitors to Matt Connors's third solo show, "Machines," at Canada. 

Theory and Matter

In the early 1970s, the French group Supports/Surfaces produced some of the era's most radical art in a seemingly unlikely medium. Today, their unstretched, semi-sculptural paintings speak to a whole new generation.

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