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I CONSIDER MY INSPIRATION to be sincerity. Truth. We're born with sincerity. A baby is sincere when it cries or yells—as anyone who has had kids knows. Sincerity comes naturally, a reaction to the whole environment. But it gets complicated very quickly.
Deborah Kass folds an array of sources into her witty mash-ups of art history, pop culture and identity politics.
Soon after the announcement that he would represent Denmark in the 2013 Venice Biennale, Jesper Just mounted three video installations at his new gallery in New York.
The Italian painter Domenico Gnoli died at age 36 in 1970, just a few months after closing an exhibition at Sidney Janis Gallery in New York. Janis was one of the leading venues for blue-chip Pop artists, who (it is worth remembering) were first called “New Realists” in a landmark exhibition at the gallery in 1962.
Ornate historical ceramics and a funky Brooklyn lifestyle come together in Ann Agee's current exhibition, "The Kitchen Sink," at Locks Gallery in Philadelphia. On view through Oct. 20, the show comes on the heels of the Brooklyn Museum's group show "Playing House" [Feb. 24–Aug. 26], in which Agee transformed a 19th-century domestic library and parlor into a showroom for an enterprise she calls "Agee Mfg. Co."
"This group of sculptures," wrote Steve Currie in the press release for this exhibition of works from 2011-12, "is about looking back in order to go forward."
For "This Nameless Spectacle," Jesper Just's current exhibition at James Cohan in Chelsea (his first with the gallery), the Danish artist has mounted installations of three recent videos. Visually seductive, slow-paced and enigmatic, the short films adopt cinematic conventions only to upset them, confounding viewers' expectations. The show follows the recent announcement that Just will represent Denmark at the Venice Biennale in 2013.
A low-key cheerful mood prevails at the attractively regrouped and revamped abc Art Berlin Contemporary, which opened at Station Berlin in the city's Kreuzberg neighborhood [through Sept. 16]. As the organizers explained to the press, whom they seemed to suspect had come expecting otherwise, theirs is not a "fair" but an "exhibition." While the faintest whiff of commerce, only "gallerists"—not dealers—participated. Each booth is designated by the featured artist (solos only) and not by the gallery name, which is in fine type.
This week we check out Holly Zausner's film and related photo-collages at Postmasters, Christian Jankowski's prank-filled but poignant show at Friedrich Petzel and Patrick Lundeen's large, masklike constructions at Mike Weiss.
Eight months ago, Nicole Eisenman locked her paints away and turned exclusively to prints. Operating feverishly in four different workshops, both alone and in collaboration, the Brooklyn-based artist has produced a trove of works in various mediums—etching, lithography, monotype and woodcut. Her large, inventive monotypes—colorful works focusing a big head, or on a single figure or two in playful combinations—were her contribution to the most recent Whitney Biennial, often singled out for praise in reviews of the show.