Collecting
“She wasn’t loved, so she didn’t know how to give love.”
“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.
For the past five years I have been engaged in a quixotic process cataloguing the artifacts of a material world in decline.
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.
A collection of photographs, prints, and paintings curated by Douglas Blau. Pictured are various kinds of collections through history from artists such as Jan Steen, Albrecht Dürer, and more.