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.
Along the way, auction records were set for Wade Guyton ($5.98 million), Rosemarie Trockel ($4.98 million) and Keith Haring ($4.87 million), as well as Matthew Barney, Dan Flavin, Sarah Lucas, Adam McEwen, James Rosenquist and Julian Schnabel.
Records were set for Joe Bradley, Dan Colen, Peter Doig, Wade Guyton, On Kawara, Martin Kippenberger, Glenn Ligon, Adam McEwen, Richard Prince, R.H. Quaytman and Thomas Schütte.
Since the early 1960s when, instead of painting, Franz Erhard Walther would deconstruct painting's support, highlighting the absence of the work being framed, the German artist has created sculptures that assume the condition of negative space,...
Large-scale historical shows, when done in a certain way, can be intellectual steamrollers.
Where art and nature intersect used to be a contested ground. With the familiarity of sculpture as found-object assemblage, the junction has become an undifferentiated confluence.
The films and sculptures of the Swedish artist Sofia Hultén are so invested in the syntax of linear narrative—in which one event logically proceeds from another—that her art at first resembles a parody of early Conceptual art's obsession with the...
In the late 1980s, British sculpture became facetious as it became populist. It was not so much the broad strokes of YBA art, with its grandiose themes of violence, sexuality and mortality, that accounted for this, but more the way artists resorted...
Andy Hope 1930's art posits a gray area between cultures one would have assumed were incompatible: German 20th-century figurative painting—from Beckmann to Kippenberger to André Butzer, a tradition of soured irony embodied by lumpen, angular...
Bars have been as essential to the New York art world as its galleries and museums. Eleven artists reflect on the downtown institutions where creative inspiration could flow as freely as the drinks.
Since the 1960s, artists taking photography as their medium have often found it limited by a lack of material specificity, and have attempted to redress this imbalance by stressing the medium's substantiality over its ability to generate illusion....
Whereas commercial feature films encourage the viewer's suspension of disbelief, photographic and filmic art—at least since the Conceptualism of the 1960s—has been intent on frustrating our ability to succumb to illusion.
Photography and film are conventionally considered to be the contemporary visual media of the erotic.
As in science fiction, futurism is inevitably superseded, and projection succumbs to retrospection. The art of Peter Fischli and David Weiss is poised on the cusp of this transition.
Karl Holmqvist's first exhibition at Galerie Neu suggested that poetry's "impoverishment" may be a critical remove from which to contemplate art's relation to the market.
Among painting genres, one most definitively affected by photography is still life.
When Darren Almond emerged in the late 1990s at the tail end of the YBA generation, his empirical approach ran counter to the constellations of found-object signifiers his elder contemporaries’ works were based upon.
There is a painterly esthetic of the abject—it might be called pathetic formalism—which emerged at the end of the 1990s.