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.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
For Hoff, distribution networks serve as creative agents. Musician Eli Keszler queries the artist and publisher of Primary Information on paintings based on viruses and syndromes, and also on his pop-leaning sound works.
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.
After a lunch consisting of meatballs, rice, and lemonade, Francis Alÿs coordinates the afternoon plans for his son Elliot. The main activity is soccer practice, but Alÿs determines it’d be best to get to homework right away.
A artists on artists text on sculpture artist Jarbas Lopes by Luis Andrade, accompanied by three photographs of sculptures by Jarbas Lopes, the first titled Troca-Troca (Switch-Switch).
Failure notice. By now we have all received any number of messages with this hyperbolic yet frightening subject line when our e-mails have bounced back.
Trinie Dalton on the celebration of individualism and the critique of the capitalist ideal that drives Minerva Cuevas’ video installation The Economy of the Imaginary: Pirates and Heroes.
Over the past four decades, Tony Conrad’s legendary work in minimalist music, experimental film and video, has been seminal in the development of those art forms.
In his drawings and video projections, Chan stakes out the space between opposites as a field of promise.
Mexican artist Vargas-Suarez Universal is often mistaken for a collective, and indeed his practice—which uses sound, science and the archives of organizations ranging from the Queens Museum to NASA—is as varied as any many-authored project.
The controversy over Santiago Sierra’s installations, in which hired laborers perform meaningless tasks, has gained in intensity. Mexican artist Teresa Margolles enjoys a similar notoriety: she finds tools for commentary on social unrest in the morgue.
I met Carlos Garaicoa in 1994, when I traveled to Havana for the Bienal. It was the first studio visit that I had ever made at midnight—this was Havana, and why not?