Art In America

More than Minimalism: The Algorithmic Turn at the Kitchen

"From Minimalism into Algorithm," an ambitious program at the Kitchen unfolding over the 2015-16 season, considers the roles of seriality, speculation and networked communication in art from the 1960s to the present. A slate of performances and...

Allison Katz

Describing the work of the American poet Frederick Seidel, the poet and critic Michael Hofmann has argued that “it’s important to understand that the poet is not in the lines”; this despite the fact that Seidel is writing mostly in the first person....

Michael Dean

The English artist Michael Dean has a complicated relationship with language, one that reflects the ambivalent relationship between postmodern British sculpture—with its down-to-earth blend of minimal, found-object, figurative and formalistic...

Thomas Eggerer

The figures that populate the recent paintings of the U.S.-based German artist Thomas Eggerer are engaged in activities that painting freezes and renders ambiguous or illegible. “Painting” and “figure” are here in conflict.

Atlas Dallas: Dallasian Spring

Preoccupied with developing urban infrastructure, the well-heeled civic leaders of Dallas have long viewed art—especially when supplied by big-name artists from afar—as a boost the city's "world-class" ambitions.

Laura Owens

The assumption that painting, with its direct link to the artist’s hand, offers unparalleled access to subjectivity has always been taken by Laura Owens as a cue for irony. She adopts pictorial idioms—fantasy landscape, decorative abstraction,...

Emily Wardill

From Hitchcock in Rear Window to Wenders in Paris, Texas, filmmakers seeking to make their medium reflect on the way film both attracts and deceives its audience have often begun by suggesting correspondences between viewer and character, in order to...

John Armleder

Inappropriately enough, in the 1980s, John Armleder was briefly associated with the Neo-Geo movement. The geometric idiom in painting is chiefly a means of closing down the arbitrariness of subjective decision-making, whereas Armleder has always been...

Meriç Algün Ringborg

“A Work of Fiction (Revisited),” 2013-14, actualizes the example sentences that dictionary editors provide to demonstrate word usage. 

Anne Hardy

Since the 1960s and '70s, sculpture's "expanded field"  has produced transient forms—temporary installations, performances, Earth works—that often continue to exist only in photographic documentation. 

Elizabeth McAlpine

Elizabeth McAlpine's series of 10 photographic works is elusive, even deceptive, but not in the way we typically think of photography as being.

Thomas Zipp

Thomas Zipp's art evinces a romanticism that its postmodernist methods designate as obsolete. It is a paradox his irony strives to justify. 

Henrik Håkansson

The problem with environmental art is the undeniable gravity and unassailable rectitude of its theme. It may seem irresponsible for artifice to tackle a subject best left to scientific research or documentary record.

John Stezaker

Shadows loom large in John Stezaker's new works. Derived from '40s and '50s B-movie film stills, these prints on canvas render the actors in flat, heavy black ink, the background sets in disquieting gray-blues or orange washes. A recurring theme...

Ned Vena

Usually, where contemporary U.S. painting is still in thrall to its great flowering of the 1950s and '60s, its allusions are ironic or critical qualifications of an earlier ideal of direct, painterly expression.

Gunter Reski

Painters emerging in the 1990s found themselves confronting their art's relation to a burgeoning digital-image culture in a way that corresponded to the response of Pop artists of the 1950s to the early mass media of the postwar era. 

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