On storytelling, seriality, and a shared love of clichés.
Citation, embodiment, movement, and holograms.
On the eve of two solo exhibitions, Wheat discusses her tapestry-like paintings, stained-glass works, and tulipieres.
Creating worlds and paying attention.
Mapping an architectural dreamspace.
A New York- and Cairo-based artist unpacks her understanding of heritage and how it can operate in contemporary art.
Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.
Venezuelan-born artist Javier Téllez’s first exhibition at Koenig & Clinton took its title from his recent film To Have Done with the Judgment of God (2016) and concerns an experience that marked Antonin Artaud’s life in 1936: the author’s encounter with the Rarámuri community living in the Sierra Tarahumara in northwest Mexico.
“I started making this work because I was sick of seeing everything.”
A collective of three artists on their installations, a fusion of technology, architecture, the Internet, and real-life materials.
Prem Krishnamurthy discusses Chinatown storefronts, the importance of friction, and “P” words.
Cheryl Donegan discusses video, sculpture-eating rats, and the myth that every choice we make is actually the right one.
In her new exhibition Ramps, artist Park McArthur considers access as more than a public policy question—it’s a physical property.
Eli Kezler on endless installations, raw composition, and the spatial limitations of large-scale art.
Before I met Abraham Cruzvillegas, more than once I’d heard curator Clara Kim mention in passing that he was a special person. This piqued my curiosity.
Karen Rester reviews the first museum exhibition of Martin “Kippy” Kippenberger’s work in Berlin, considering his playful legacy in this new context.