Reassembled fragments of texts and vocalizations invite audiences into the immersive installations of these two artists.
As Anna K.E. explains it, first a picture comes to her, then she completes the action.
An interest in disobedient bodies notwithstanding, for Moriah Evans dance emerges through rigorous choreographic structures. Her most recent piece, Social Dance, was presented at ISSUE Project Room earlier this year.
It was a relationship that, from the outset, was not fated to last. She knew that.
Adrienne Truscott’s … Too Freedom …, performed at The Kitchen this last December, is a multilayered meditation on social (inter)action.
Katrín Sigurdardóttir’s sculptures and installations merge embodied experiences of place with conceptual constructions of space. She reflects with poet Eva Heisler on the early memories that inspire her work.
When I meet Oscar Murillo for the first time, it is in Central London. Murillo lives and works in East London.
“History has shown that universalism is a step away from totalitarianism—a deadly kind of erasure that I find horrifying. The fear of fascism undermines my sensuous relationship to those things. I often wonder, are there any other alternative aesthetics?”
A tribute to the late British-American abstract painter from one of BOMB’s founders.
I enter Katharina Grosse’s latest installation at MASS MoCA and I am awed by the sheer dimension of the piece and by the intensity of the encounter.
Sarah Michelson, who has been awarded the 2012 Bucksbaum Award by the Whitney, contemplates, with fellow choreographer Ralph Lemon the gaze and juxtaposition of seasoned dancers with young girls.
Olivia Booth and Rebecca Norton’s works address the body directly by involving us in an involuntary relationship to interiority, in which it’s inseparable from the exterior—surface, skin, or the space in front of either.
“What would a purely physical kind of grace look like? It wouldn’t look like a ballet dancer’s grace.”
In 1976 I had been making photographs for a couple of years. I had certainly been looking at a lot more photographs than I had actually made.
After nearly 40 years, Marina Abramović’s performances and installations continue to make viewers squirm. Laurie Anderson, an old friend, queries the artist on dreams and Buddhism.
The Neuberger Museum of Art is immediately memorable, if for no other reason than the galleries are singularly broad and deep: proportion and scale of this acclaimed modernist space are eloquent, not overbearing.
Colombian artist María Teresa Hinicapié’s performance work is a spiritual quest that binds art and ritual.
Ernesto Neto’s art, formal abstraction in the shape of sexy biomorphs, might seem an oxymoron. Curator Bill Arning and the Brazilian artist address the dichotomy of rigorous pleasure.
Stuart Horodner speaks with Janine Antoni on the limits of significance, lard, chocolate, and polysomnograph machines in this 1999 interview.
The production and circulation of representations of the “self” was once considered a provenance of high art, and despite-mass media encroachment it is still contested territory.