|Posts on Regator:||13679|
|Posts / Week:||46.7|
|Archived Since:||February 16, 2011|
Gary Petersen’s skewed geometric paintings call forth analogies to music and architecture, a realm of vertical intervals and diagonal supports spliced into a precarious balance.
The Austrian painter Tillman Kaiser does something unexpected and frankly welcome. Rather than accept that painting is used up or on life support, Kaiser opens up the discourse through the use of egg tempera (a medium dating back to Egyptian mummy portraits) on photograms (a 20th-century invention) mounted on wood.
Drawings 1982-96 is a modestly titled but very revealing exhibition of drawings by Carroll Dunham, the bulk of which had been owned by Illeana Sonnabend, the artist’s New York gallerist from 1988 to 1994.
Faced with the choice between genuine American pop music and the perfect facsimiles crafted by foreign scientist-geniuses running computer algorithms on said pop music (you think I’m exaggerating; read John Seabrook), I’d still pick the American stuff.
As a lifelong resident of the South who often has cause to talk to people from elsewhere, I find that my accent is a recurring topic of conversation. Someone will wonder why I don’t have one, and seem astonished. Someone else will retort, “What are you talking about? He totally has one!” and seem amused.
Fred Sandback could be considered, and not without reason, as the purest and most unsparingly geometric member of a rigorously formalist generation, a cohort that included Donald Judd, Dan Flavin, Richard Serra, and Sol LeWitt.
While waiting in line to pee in “America,” a toilet cast in 18-karat gold and installed in a Guggenheim Museum bathroom, I ran into my friend Fritz Mead, who lives in a shack he built himself out of scrap wood in a backyard next to a skate bowl he also built himself.
One of the infamous nude Trump sculptures that street art collective INDECLINE recently planted across the country could be yours to keep and hand down as a historic, horrific family keepsake.
Marianne Vitale’s exhibition at Invisible-Exports, Equipment, cannily alludes to the preening masculine vanity that comes to the surface through the machinery of military power.
The first large-scale art and technology collaborations that occurred in the United States are not as legendary as, for example, the 9th Street Show that launched the New York School of Abstract Expressionism, but they should be.
Emergency evacuation drills, though necessary, are a pain.
How do you repair crumbling, centuries-old sections of the Great Wall of China?
"To spend this time was to enter a fear and let it come over me. I liked begging. But of course it wasn’t my life."
Amateurs may think that inspiration drives artistic production, but professionals know the muses are rarely to blame for creative clogging.
I should like the exhibition Measures of Inequity by the artists Richard Ibghy & Marilou Lemmens at the International Studio and Curatorial Program.
In Tom Gauld’s new graphic novel, Mooncop — published by Drawn & Quarterly — the age of the moon has waxed and waned.
This week in art news: Ai Weiwei's lawyer was jailed for 12 years, a fire tore through Stockholm's Royal Institute of Art, and a statue of Vladimir Lenin was removed from the East Village.
WASHINGTON, DC — An effort to describe the diversity of birds led to one of the first modern color systems.
Garbage has been piling up for weeks in the halls of 112 2nd Avenue.