|Posts on Regator:||5854|
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|Archived Since:||February 16, 2011|
This week, the state of artist studios, doxxing mania, startup slavery, Zwirner talks to Charlie Rose, fetishizing slums, where people read most, best graffiti of the week, and more.
This week marked the opening of the last Whitney Biennial before the museum exits its historic Marcel Breuer building, as well as the last Brucennial, courtesy of the Bruce High Quality Foundation, before it exits the scene for good...
Against the backdrop of belated examples of race-related “progress,” it is illuminating to flip through the pages of American cultural history and discover that almost a century ago, a black, classically trained modern artist, Archibald J. Show More Summary
For Gideon Bok, painting, which has historically been defined as a container, a window, or a two-dimensional surface, is at least all three at once. Although I have no proof, I also felt that Bok may also think of painting as a scre...
This year's Armory Show may have stopped the bleeding for an art fair that has suffered from years of lackluster energy and a major blow delivered by the Frieze New York art fair, which began two years ago on a bucolic urban island and in the far warmer month of May. Show More Summary
I was born in 1983. Just shy of my 31st birthday, it occurred to me that somewhere after 1984 — virtually my entire lifetime — painting disappears almost entirely from most books on contemporary art history.
The dream of a completely immersive visual experience haunts modern art. The most famous example in painting, Monet’s Waterlilies installation, dedicated in Paris’s Orangerie in 1927, has behind it a rich history of popular entertainment:...Show More Summary
Susan Rothenberg’s painting, “Untitled” (1974), couldn’t be more basic — brushstrokes of dusty red ochre scrubbed across a canvas; the image of a galloping horse bisected by a vertical line — but you’d be hard pressed to find a more compact expression of what painting is and what it can be.
For those seeking an antidote to the Armory madness this weekend, Distant Images, Local Positions, curated by Wafaa Bilal at the Project Space of the Elizabeth Foundation for the Arts, is an edifying alternative.
Fountain Art Fair, now in its eighth year, continues to be the go-to Armory Week fair if you want see and buy art that's more alternative or DIY, less brand-name and thus less expensive than what you'd get at the Armory Show, or even Volta.
In a small room on the top floor of the Old School building at the corner of Mott and Prince Streets, floor-to-ceiling shelves are lined with pictures of disembodied heads and torsos adhered to off-brand canned goods.
Two artists are engaging in a durational experiment in tandem compact living in Pierogi gallery's the Boiler in Williamsburg, Brooklyn, a neighborhood where plenty of viewers have probably experienced the complications of life in small unstable spaces.
There are few hot topics in the art world like China, which along with its growing economic might is starting to flex its cultural soft power and demonstrate that it is central to any global dialogue.
The Biennale of Sydney will end its relationship with major sponsor Transfield Holdings, and Biennale Chairman Luca Belgiorno-Nettis has resigned, the Guardian reports. The moves come in response to a growing boycott of the exhibition over its link with Transfield.
Pussy Riot attacked in Russia, seizures of art in Queens, Lars von Trier film banned in Turkey, and more from the week in art news.
In terms of understanding the very nature of our world, it's hard to overestimate the significance of the Large Hadron Collider, and a new documentary makes a very convincing case.
A cynic might observe, correctly, that a large commercial fair is as good a place as any to be reminded that most art sucks.
The Independent art fair was born out of a sprawling nonprofit project founded by dealer Elizabeth Dee. Called the X Initiative, it turned the former Chelsea home of the Dia Art Foundation into a yearlong hub of exhibitions, performance, conversations, and more, all with an alternative bent. As it was coming to a close, in early 2010, Dee announced plans for the Independent.
Whitney Biennial curator Anthony Elms took on the nebulous meaning of "American art" most directly in his selections, but the results don't really say a lot about what it means to be American — at least not in a way that makes it distinct...Show More Summary
Four more artists have joined the boycott of the Biennale of Sydney, and the protest of arts organizations connected to Transfield, a company that manages mandatory offshore detention centers for asylum seekers in Australia, is grow...