“She wasn’t loved, so she didn’t know how to give love.”
Leigh Ledare’s projects involve interpersonal triangulations in which the camera plays a crucial role and all parties, viewers included, are implicated. Upon A.R.T. Press’s publication of a book-length dialogue between him and Rhea Anastas, Ledare revisits recent works with novelist Chris Kraus.
Reanimating the 20th century … is the second in a series of Sourcebooks published by Independent Curators International.
Jason Simon’s show at Callicoon Fine Arts last fall evoked multiplied specters of the artist’s memory.
Ursula Davila-Villa discusses the minimalist work of Jac Lernier as well as the publication of her conversations with Adele Nelson.
Alan Gilbert considers the implications of the release of volume 2 of the Encyclopedia project, as well as the success of its format as creative nonfiction.
Entering the Downtown gallery housing of Phoebe Washburn’s installation Nunderwater Nort Lab you are greeted by a curved wall made of two-by-fours.
David Shapiro, whose show Money Is No Object was on view at the Sue Scott Gallery this spring, has created a group of vellum scrolls on which he has placed the bills and receipts and ticket stubs he’s collected over the course of a year.
Feinstein talks with fellow painter Lieberman about The Estate of Rochelle F., a pre-posthumous, post-humorous painting project for which she utilized only materials already present in her studio.
Picture a man in New York City, wandering its busy streets. He spies a battered piece of small cast plastic on the sidewalk. Its shape is familiar to the eye and hand; it is intact but not instantly identifiable.
Leah Beeferman on the art of Gregory Blackstock.
Suzanne Bocanegra and I met recently at a tiny coffee shop to talk about her drawings. I have always loved her work, though I have rarely thought about why.
Tom Slaughter’s paintings have a very specific effect. Like Brazilian music, as in Jobim, or Caetano Veloso, they are instantly pleasing.