Your movements, and the movements of others in the room, are constantly causing surprising interruptions and additions in the light forms cast against the wall.
January 29, 2010 at the National Academy Museum and School of Fine Arts, New York. Mario Naves, Joan Waltemath, and John Yau join David Cohen to discuss Frances Barth at Sundaram Tagore, Marlo Pascual at Casey Kaplan, Susannah Philips at Lori Bookstein Fine Art, and Stanley Whitney at Team.
Even in less jovial days of January, whiteness continues to command powerful associations.
Dibenedetto, Siena and Ross have defined an architectural endoskeleton within the body of the biomorph.
Shrouding the armature with photo-tattooed fabric tilts two-dimensional surfaces towards the third dimension, but there is constant flickering or vacillation between the two kinds of space.
Throughout the show we are taken on a journey through the predominant narrative of 1960s art history, as told by the institution that has dictated modern art as we know it.
This first major museum retrospective of Mexican Gabriel Orozco has been viewed as controversial, and not entirely for reasons of taste.
Moore’s subject is the transformative relationship of abandoned architecture to the natural elements, and, through time, its reclamation by the same.
There is a subtext running through much of Morton’s works that laments the death of the soul in the things of the world around her.