Aren’t we all trying to affect a projection of an authentic self? These works suggest that there is no such thing.
Dona Nelson’s paintings have an inside and outside. Every dimension of her multidimensional work is made relevant.
War movies perform a clever trick: they create coherent, digestible narratives out of incomprehensible violence. Christian Marclay inverts this cinematic alchemy in his video, which premiered at this year’s Venice Biennale and served as the centerpiece of his Paula Cooper show.
The charged, evocative third edition of the Chicago Architecture Biennial pivots away from the young initiative’s early hallmarks.
“Manfred Mohr, A Formal Language” surveyed the five decades of work this foundational yet under-known computer artist has made since adopting algorithms as tools of artistic creation.
Cox-Richard’s critical aim may be lost on the casual viewer who opts to forgo the wordy wall texts and ogle at the novelty of familiar forms saturated with rousing chromatics. For the more inquisitive viewer, though, Cox-Richard offers layer upon layer of translations, reinterpretations, and replications that scuffle with the aesthetic authority of whiteness.
What might Paulina Peavy’s art have looked like if she hadn’t attended a séance led by the spiritualist pastor Ida Ewing in Santa Ana, California, in 1932? A recent divorcée with two children, she had taken classes at the Chouinard Art Institute in Los Angeles and was teaching art in local public schools.
Wael Shawky’s exhibition at Lisson, “The Gulf Project Camp,” was a lavish installation offering a deep dive into Middle Eastern history.
Roberts's work focuses almost exclusively on depictions of black youth: bold, graphic figures composed of gouache bodies pasted with faces and hands cut from photographs found in magazines or online, the unsettling combinations evoking the precariousness of black childhood in the United States.
A casual visitor who just wandered into Richard Van Buren’s exhibition without glancing at the name on the wall could easily have thought it was a two-person show.
I was thinking about how opposition and reflection are sometimes one in the same.
There’s an element of the company flaunting its ability to do with the snaps what it wishes, testing boundaries with Marclay as cover.
The exhibition, “Bicycle Thieves,” which was organized by writer and independent curator Hanlu Zhang, addressed a range of questions surrounding artistic labor, menial labor, and care work; local organizing efforts and large-scale political intervention; and the relationship between labor and technology.