What I loved most about Klaus was his old-world elegance.
Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.
Ostrow visits Feher at his Bronx studio, where he muses about his past, contemplates his future, and pinpoints the exact moment when he discovered to be an artist meant to believe “I was right, even when I was wrong.”
Salomon Contemporary’s 112 Greene Street: A Nexus of Ideas in the Early 70s revives the spirit of the post-Minimalism SoHo hub by exhibiting the broad range of ideas birthed there.
A tribute to the late British-American abstract painter from one of BOMB’s founders.
“ I don’t trust myself to get by in the art world if I’m not provocative. I don’t think I could get away with doing stripes or circles because I wouldn’t have a convincing argument to back it up.”
For his most recent venture “Big Mind Sky”, the Swiss-born artist Ugo Rondinone packed 12 gargantuan and grotesquely grinning busts—each named after a month—into the cavernous space of Matthew Marks Gallery in New York.
I have come across a double find: first, a special two-part issue of the journal Visible Languageon Fluxus, edited by Fluxus historian Owen Smith and Fluxus artist Ken Friedman; and second, no less exhilarating, the journal itself.
When viewing the 11 DVDs that make up Point of View, it is important to remember that this is only the most recent chapter in a century of artists’ engagement in experimental filmmaking.
This recently published box set of three books represents a comprehensive view of Lewis Baltz’s photography of the late ’70s, when he was identified with the influential photography movement New Topography.
Saul Ostrow on how Jon Kessler’s sculptures and installations explore the aesthetic and the role of technology and mass media in our lives.
Here we are, if not on the frontlines of the culture war, then at least among the reserve forces.
Saul Ostrow on Paul Ramirez Jonas’s optimistic quest for inventiveness and adventure.
Sol LeWitt bridged the gap between Minimalism and Conceptualism, foregrounding the disparity between the world of language and that of objects and actions.
Painter Julie Langsam suggests the failures of two artistic movements—Romanticism and modernism—through her use of non-traditional landscape styles.
Diana Cooper’s work is a high-wire act.
Aesthetically informed by an awareness of the limits of language and the doubt that this instills, Jiménez investigates the way language orders experience and how concepts are formed, the irreconcilability between the logic of articulation and sentience.