As the skies become grey, the sunlight becomes scarce, and the air becomes frigid, we find in snowy Buffalo at the Albright-Knox, a respite for all of this, an oasis of color and light.
Merlin James and Thomas Demand might seem as different as two contemporary artists can be. But a coincidence of means begs a comparison between shows of overtly contrastive mood and art-world temper. For both artists make their final images from models of their own making.
Hirst seems to play to the peanut gallery, the broadest audience, those who think of art as hallowed, more so because they don’t understand it.
December 14, 2007 at the National Academy Museum and School of Fine Arts, New York Ben Davis, Lance Esplund, and Lilly Wei joined David Cohen to review Tara Donovan at the Met, Anne Harris at Alexandre, Bharti Kher at Jack Shainman, David Reed at Max Protetch, and Zhang Huan at the Asia Society.
When these three Tiepolos at the Met were removed from the main salon of Ca’Dolfin, the intended site-specific lighting effects were lost. But Alpers, Hyde and Kulok recreate the way that, to quote Alpers and Baxandall, “the world, on Tiepolo’s account, presents a conundrum and his painting makes us conscious of having to work to make things out.”
Where Yasinsky accesses early girlhood through dolls and dinky illustration technique, McQuilkin seems dedicated to a perpetual state of teenage angst. The specific identification of both with early cinema relates to a broader trend in feminist-influenced art.
Alex Mcquilkin’s new two-screen projection film is ironic, sincere, casual, rigorous, knowing, adolescent, narcissistic, and emotionally generous. It is a small masterpiece about another masterpiece.
Even for seasoned navigators, there’s a lot of getting lost to be done in Miami, with everything oriented NE, NW, condo towers being built everywhere blocking one-way streets. Looking for the Cisneros Fontanals Art Foundation (CIFO) near downtown, we first passed a group of boxy nightclub buildings. These are the after-hours places, which pick up…
Pieter de Hooch and Johannes Vermeer reinforce the picture plane by building their modernist compositions like so many overlaid computer windows, while Gerard ter Borch accentuates the picture window with a diagonally placed mantelpiece, bed, or table in his interiors. Not to be outdone, Gerrit Dou uses the “window niche,” a framing device that he pioneered, to mediate our voyeuristic gaze into the private realm of the sitter.