The artist talks about the genesis, composition, and execution of a recently completed work.
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 celebrated choreographer of Bronx Gothic explores the embodiment of psychic space, the nature of memory, and who gets to write history.
The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
It starts, of course, with water. A bath for the newborn, a baptism for the blank canvas.
Helsinki Web Sketches are a series of graphic compositions assembled from images shot during an artist residency at HIAP—Helsinki International Artist Programme, Summer, 2013.
The 17th-century townhouses that Gordon Matta-Clark and his friends chipped away at in Conical Intersect (1975) did not collapse immediately—like, say, flimsy clapboard ranch styles built where neighborhood site plans had been rushed and mistaken.
Katrín Sigurdardóttir’s sculptures and installations merge embodied experiences of place with conceptual constructions of space. She reflects with poet Eva Heisler on the early memories that inspire her work.
Jeannette Mundt’s new show at Michael Benevento in Los Angeles toys with atypical notions of space in a classic medium—paint.
For this installment of Post Impressions, Kanishka Raja takes the scenic route from Kashmir to Switzerland in conceptualizing his latest series of paintings.
Jenn Joy is confronted by the distorted anatomy and face of Heather Kravas’s Kassidy Chism.
“What would a purely physical kind of grace look like? It wouldn’t look like a ballet dancer’s grace.”
“So we do have this way of breaking down the country in these different interpretive units, these zones that have predominant themes but aren’t necessarily totally obvious either.”
As part of their “True Mirror” project for the 2008 Whitney Biennial, Dexter Sinister has set up a mirror press office at the Commander’s Room of the 7th Regiment Armory.
“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”
At the heart of Julie Mehretu’s paintings is a question about the ways in which we construct and live in the world. Perhaps that is what makes the work so radical: its willingness to unravel the conventionally given answers about the violent environment we inhabit today.
BOMB architecture editor Carlos Brillembourg parses the varied subjects and themes of artist Guillermo Kuitca’s 1991 MoMA show.