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.
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.
“We are conditioned, we have invented tools for ourselves to function in a more immediate and direct way without having to think about it too much—we sometimes forget to stop and ask ourselves: What are we looking at?”
The obsession with documentation and online sharing might have caused K8 Hardy to press pause on performing, at least for now. Hardy discusses, with poet Raines, the runway show she’s producing for the Whitney Biennial.
In anticipation of the culmination of Will Corwin’s Clocktower residency, artist Eve Sussman queried him about his take on futility and repetition and his interest in architectural interventions.
Sculptor and installation artist John von Bergen pulls the emotional and cerebral trigger. Samuel Jablon speaks with him here re: site-transience, urban claustrophobia, and the so-called “honesty of materiality.”
Dazed from lack of sleep, I entered CANADA on Chrystie Street one afternoon to see Malinowska’s exhibition Time of Guerrilla Metaphysics.
Scott’s provocative work challenges pedestrians in Philadelphia’s bustling Logan Square to consider the fate of local high schoolers will be on view through November.