There’s an internalized severity to her art; its fierce angularity suggests an appetite for sensual abandon constrained by geometry, argues HEARNE PARDEE
In a Catch-22, artists cannot sell their work, but they also cannot afford to “waste” materials on work that is not for sale.
By his critical reference to the illusions of the rhetoric of the Olympics, vastly expensive events which diverted funding from the fundamental needs of the population, he makes a powerful political statement, all the more potent because it is extremely elliptical.
By design, the show is a revealing jumble, expressing something of what it has come to mean to respond to a place (or site, region, niche), and something of what it can no longer mean.
Jiang’s work is philosophy in motion: Essence of line and essence of modern truth are his constant themes.
16 February – 4 May 2009 The Hayward Gallery, London 16 May – 28 June 2009 Leeds Art Gallery 18 July – 20 September Glynn Vivian Art Gallery, Swansea At a first glance, The Russian Linesman, a group exhibition curated by Mark Wallinger seems to be an eclectic choice of art and artefacts, like a contemporary…
Although this exhibition consists of a wide range of works done over the past two years it is purely, and unapologetically, commemorative in spirit.
Rothko/Giotto Gemäldegalerie Staatliche Museen zu Berlin February 6-May 3, 2009 Picturing America: Photorealism in the 1970s Deutsche Guggenheim, Berlin March 7- May 10, 2009 Blockbuster exhibitions can be extremely small. When recently the Frick presented the London Cimabue alongside its Manhattan mate, in the small room next to the bookstore, a revelatory visual relationship was…
While the Texas Biennial has some kinks to be ironed out, ALISON HEARST reports, working together to increase the dialogue and push Texas art forward is what Austin does well.