A landscape painter explores the “bright, exuberant, plastic toxicity” oozing from the colors of our contemporary environment.
Hovsepian addresses current matters in her work, but she does so in a vocabulary that moves beyond binaries and beyond Western mentality, one that follows a different way of thinking and feeling.
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.
The artist Josiah McElheny has published two books that display his collaboration with artists, scholars, scientists and creative writers, offering a multitude of voices, speculations, fictions, and facts.
Notley’s body of work consists of over thirty-five collections of poetry and prose. To consider her oeuvre, in her interlocutor’s words, is to court “cerebral and sensory overload.”
Both artists overturn photographic conventions to slow down our reading of physical and verbal landscapes. Their exchange touches on the retina, the sun, and camera obscura.
I took the morning TGV from Poitiers to Paris on January 15th to ask Etel Adnan a question. She was about to receive France’s highest cultural honor, the Ordre de Chevalier des Arts et des Lettres. Her collected writings are imminent with Nightboat Books, and she has been the late star of Kassel.
Architect Carlos Brillembourg’s poetic meditation on Keith Sonnier’s sculptures at Mary Boone Gallery
Panter and White make light shows together, the most recent of which is in a big, fantastical room at the Museum of Contemporary Art Detroit.
Uta Barth brings a new meaning to close looking.
Shifting Connections continues with writer and critic Kathleen MacQueen’s take on Joseph Kosuth’s new installation at Sean Kelly Gallery, on view through April 30th.
It’s a relatively limited type of adjective that clings to recent abstract painting: intricate, quiet, lyrical, seductive, mysterious, atmospheric.
Artist Mário Ramiro on the work of Lucia Koch. WEB EXTRA: Watch Koch’s collaborative animation, Olinda-Celeste!
Most of us, when a light bulb goes on in our head, think we have an idea. Spencer Finch realized what he had was … a light bulb.
Tom Healy on the influences of science, nature, and the sun that define the photography of identical twins Doug & Mike Starn.
Conceptual art’s shift away from the traditional art object—sometimes dubiously referred to as “dematerialization”—was more or less an idée reçue in the late 1980s and early ’90s, when Olafur Eliasson was beginning to make art as a student at the Royal Academy of Arts in Copenhagen.
Reviewer Carlos Brillembourg finds the absurd task of representing 500 years of Brazilian history in a single exhibit further hampered by Jean Nouvel’s Guggenheim redesign and the franchising of the museum brand.
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.
Turner’s characteristic care and orderliness have attenuated his methodology into a sequence of operations so mediated as to feel archeological. He has maneuvered outside the discursive loops of postmodernism to a place that’s really “nonmodern.”