|Posts on Regator:||10187|
|Posts / Week:||42.9|
|Archived Since:||February 16, 2011|
At this year's New York International Fringe Festival, artist Daniel Domig and actor Christopher Domig have collaborated on The Waste Land, an installation in which the latter quixotically plays with objects and rolls around in sawdust while reciting T.S. Eliot's poem of the same name.
Attacks on ancient cultural sites by ISIS in retaliation for what the terrorist group considers idolatry continue with the recent destruction of two ancient religious buildings in Syria.
MINNEAPOLIS — We do not know what we do not know. That is precisely what the Walker Art Center’s exhibition International Pop makes clear — how much, heretofore, we did not know about the scope and practice of Pop art.
On August 30th, Brooklyn’s beloved indie press Ugly Duckling Presse is throwing a “Rent Party” — a half-day event consisting of a pre-party, barbecue, and performances by NYC-based DJs, bands, and sound artists.
Written nearly a decade before she was appointed artist-in-residence at the New York Department of Sanitation in 1976, Mierle Laderman Ukeles’s “Manifesto for Maintenance Art 1969!” pointed at a basic disconnect between concept and reality.
Cats in general, and cat videos in particular, appear to test, and sometimes to confirm, familiar ideas about the essence of art.
Where to begin …
Bay Area artist Richard Diebenkorn kept sketchbooks for his entire career, a sort of nomadic studio where he experimented with visuals that bridged figurative and abstract ideas.
This week, a profile of the family benefiting from a wealthy San Francisco art school, new science fiction about climate change, a shamed Getty curator tells her story, Belize's art revolution, a pomo architecture hater, and more.
There was much talk of competition in the news this week, as tech companies poach each other's talent and workplace culture turns brutal inside Amazon and across the business landscape.
HOUSTON — The exhibition’s name – Sound Speed Marker – gets at the essence of Austin-based artist-duo Hubbard/Birchler’s work. As moving-image artists, Dubliner Teresa Hubbard and the Swiss Alexander Birchler make self-reflexive film: film about the elements of film.
LOS ANGELES — “I can barely remember doing all this,” Charles Garabedian says to me as he flips through the pages of his own museum exhibition catalog, which I have brought along.
“I ain’t pageant material,” declares country songbird Kacey Musgraves on the title track to her new album, but the song’s too pretty, too demure, too well-mannered.
Ray Johnson disappeared near Sag Harbor just over twenty years ago. But if we refer to the artist by the art, he’s still among us.
Terminology is slippery, and using it as the premise for an exhibition can be slipperier still. But the concept underlying Metamodern, a group show at Denny Gallery on the Lower East Side, actually holds the potential to enrich an already strong array of works with a few additional, if speculative, layers of meaning.
Every party has a life cycle.
This week in art news: New Orleans city officials consider inviting artists to appropriate the city's Confederate monuments, dismal queues plague Banksy's Dismaland, and avant-garde band Laibach became the first Western act to perform in North Korea.
On Wednesday night, a giant, 250-lb red ball tumbled down a road in Ohio, spurring locals to break the age-old command of parents to not chase rogue balls in the streets.
You haven’t really seen a ferris wheel until you’ve seen one photographed by Roger Vail.
LISBON — Even as she was the subject of the exhibition The Sacred and the Profane in 1997 at the National Museum of Women in the Arts in Washington, I had never heard of the Counter-Reformation Baroque (and Bodegón) painter Josefa de Óbidos (1630–1684), before a trip to Lisbon.