A New York- and Cairo-based artist unpacks her understanding of heritage and how it can operate in contemporary art.
Inspired by Japanese “landscape theory,” a Parisian artist-filmmaker explains why he prefers to show us the world as his subjects see it.
Sung Hwan Kim’s The Tanks at Tate Modern uses mixed media to challenge reality, and how the artist and the viewer are both figments of the imagination.
Art history is an uneven and gendered discipline, especially in the southern tip of the West.
“The reason I am writing fiction is so that I can tell the truth from a vantage point that allows me some space.”
Jennie C. Jones’s art reflects on the cultures of sound and music in a visual context. In recent years, she has presented cerebral and imaginative responses to what she calls “the physical residue of music,” using strips of audiotape, bits of wire, instrument cables, cassette casings, or handfuls of earbuds
David Brody praises the compelling rock-minimalist sounds of Slink Moss and Susan Jennings of Black Lake.
When Andrew Lampert performs his new piece Jacka Spades, he sits somewhere close to the front of a theater, operating a Super-8 projector in plain view of the audience.
Departing a clandestine appointment in a San Francisco office tower, Jejune Institute inductees puzzle over an encrypted instruction key.
“Meow!” might serve as the inscrutable sound bite of this traveling exhibition curated by Anthony Huberman which started at the Contemporary Art Museum in St. Louis last fall and ends at the Culturgest—Fundação Caixa Geral de Depósitos in Lisbon this summer.
Winner of the Whitney Museum’s first Bucksbaum award in 2000, Paul Pfeiffer has received attention over the last few years for his provocative digital video production.
One stormy night this summer in New York, I trekked over to Steve Reich and Beryl Korot’s place to see and hear their new video opera, Three Tales