Art In America

Liz Glynn

Auguste Rodin willed the contents of his studio, including the right to cast his sculptures posthumously, to the French state, which has established precise guidelines for how these works should be produced and distributed to cultural institutions...

Overview: Immerse Yourself

Only a handful of movie theaters around the country are equipped to screen Billy Lynn’s Long Halftime Walkas acclaimed director Ang Lee intended it to be seen. Centering on an Iraq War hero’s ambivalence about participating in a souped-up patriotic...

Anthony Caro

There’s always more to discover in Antony Caro’s sculptures, miraculously refined compositions of sometimes scrappy industrial materials. A seminal British modernist, Caro (1924–2013) extended an aesthetic tradition pioneered by Picasso and David...

Kai Althoff

It is easy for the visitor to Kai Althoff’s retrospective at the Museum of Modern Art,  “and then leave me to the common swifts,” to grow irritated: the long wait for entry into the overcrowded galleries, the admonishment from the well-meaning museum...

Julia Rommel

Julia Rommel’s first solo exhibition at Bureau, in 2012, featured diminutive monochromes perfectly scaled to the gallery’s shoebox space. Bureau has since moved to more expansive digs, and Rommel’s paintings have grown larger, their palettes more...

Suburban Futurism

Arguing that urban sprawl is the dominant growth paradigm of the present and future, the author advocates a close examination of dynamic, amorphous metroplexes like Phoenix and Dubai.

Cosima von Bonin

A key figure in the irreverent, boisterous Cologne scene of the 1980s, Cosima von Bonin produces eccentric sculptures and installations that evoke a “mad romp through the margins of popular culture,” as Faye Hirsch recently wrote in A.i.A. The focus...

James Hoff

James Hoff uses the conventions of painting to register the circulation of digital images and information. This solo exhibition features works from his “Useless Landscapes” series (2016). Hoff took pictures of forests with a cellphone camera and then...

Alan Sonfist

One of the most significant works of public art in New York is easy to miss. Alan Sonfist’s Time Landscape, on the corner of Houston Street and LaGuardia Place, is an unassuming patch of precolonial, pre-urbanized ground—a slice of native forest...

“Douglas Crimp—Before Pictures New York City 1967–1977”

The history of art in New York during the consequential decade of 1967 to 1977 could be (and has been) narrated in myriad ways, but there’s something especially moving about seeing it represented through a biographical lens in the intimate confines of...

Made in LA

The third iteration of the Hammer Museum’s Made in LA biennial—organized by the museum’s Aram Moshayedi and the Renaissance Society’s Hamza Walker—proposed a current art scene that is much more diverse, with artists whose backgrounds and practices are...

Matthew Barney

I mistakenly expected this partial re-staging of Matthew Barney’s 1991 New York solo debut to have a scrappy and searching look. Instead, the sculptures, installations, and drawings that Barney produced at the age of twenty-four feel fully resolved....

“The Equilibrists”

Organized by New York’s New Museum and Athens’s DESTE Foundation in collaboration with the Benaki Museum, the show features some thirty artists who started their careers during a period of crisis. Caught between the threat of Grexit and the reality of...

The Public as Producer

At the Cooper Hewitt, a multipurpose handheld device called the Pen enables visitors to share in “design thinking” through instantaneous searches of the collection and experiments in high-tech drafting.

Film: Pornography of Power

In her last film project, the late artist Ellen Cantor mixed documentary and soap opera genres to expose the perversity of US support for the Chilean dictator Augusto Pinochet.

The Digitized Museum

Introducing A.i.A.’s special issue on museums and digital technology, its organizers reflect on how new electronic devices, new institutional policies and programs, and a new emphasis on access, interactivity, and feedback are altering...

Robert Irwin

In 1970, Robert Irwin gave up his studio and sold his art supplies. The midcareer painter and sculptor “simply stopped being an artist in those senses,” as he told Lawrence Weschler for the classic biography Seeing Is Forgetting the Name of the Thing...

Submit your e-mail to receive insider information from the art world every week.