With “Robert Morris: Para-Architectural Projects,” Hunter College’s Leubsdorf Gallery spotlighted a seldom-seen portfolio by a postwar artist whose sculpture and writings helped define the Minimalist idiom of the 1960s and its eventual unmaking in “process art.”
The cultivation of memory is a vital part of contemporary Spanish society. It informs conflicts between federalists and nationalists, socialists and neoliberals.
This small but stirring exhibition was titled “George Tooker: Contemplative Gaze,” begging the question, to whom does that gaze belong?
Seven oil paintings on canvas and two painted sculptures comprise Julien Ceccaldi's exhibition titled “Sex Is Work”—and indeed the paintings suggest the emotional labor that accompanies the act.
Policing bleeds into the TV shows, apps, and news we consume every day.
Vik Muniz pays homage here to abstract or quasi-abstract paintings from the early and mid-twentieth century, mostly by United States and Latin American artists.
In interviews and writings my boss presents a righteous persona, but deep down he only cares about the optics of his social brand.
For his most infamous work, "The Nazis" (1998), the Polish artist Piotr Uklański, based mostly in New York since the early 1990s, compiled an archive of filmic depictions of the Third Reich—or, more precisely, images of actors wearing Nazi costumes in films, drawn largely from promotional stills circulated by movie studios.
In his work, Michael Simpson, an avowed atheist, often alludes to the cruel hierarchies and injustices imposed by organized religion, framing religious institutions as sites of exclusion and discomfort.
It’s easy to forget that the technical feats in Emshwiller's films are products of his expert editing sense, rather than contemporary software.
At Yágul, I too experienced the duress of being naked in the tombs Mendieta occupied for Imágen de Yágul, when I took my clothes off and lay down on the floor of an open crypt in my serio continuum of Mendieta’s performative.
Tosh, the son of the mid-century, Los Angeles artist Wallace Berman, adds a curious dual memoir to the genre’s history that is as unorthodox as his bohemian upbringing and his father’s compelling art.
Too often, people have pigeon-holed Ulrike Müller because of her political and social activism, particularly her engagement with lesbian and feminist issues, and this perception has limited the understanding of her oeuvre.
If nothing else, Alex Prager’s show at Lehmann Maupin served as a reminder that the influence of David Lynch should be handled with extreme caution.