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.
At Sculpture Key West, the artists had only a few days – working in the heat, wind and rain – to execute their pieces. The drama inherent to such a logistically challenging process is palpable in the final result., CHRISTINA KEE discovered
Visiting San Antonio, Texas for Marcia Gygli King’s mutli-venue retrospective, ALISON HEARST discovered a robust art community of involved participants and high-caliber work.
Figures du corps – une leçon d’anatomie aux Beaux-arts at the École nationale supérieure des beaux-arts de Paris
21 october 2008 – 4 january 2009 Galeries du quai 13, quai Malaquais, 75506 Paris Telephone: 01 47 03 50 00 Figures du corps was a rare insight into the archive of one of the most significant art schools in the world. The anatomy collection of École nationale supérieure des beaux-arts de Paris is an…
In his first dispatch from Paris, Mick Finch ponders simultaneous shows of two artists, Bridget Riley and Peter Doig, both active in Britain but from different generations, whose contrastive relations to Post-Impressionism proved instructive.
In the first of a new series of dispatches from around the US and the world by regular contributors, GREG LINDQUIST charts developments in his native North Carolina
Collectively, these sculptures look like death masks cast from Aztec sacrifices. Each embodies the magical absurd-beyond-belief-because-it’s-so-true realism of Gabriel Garcia Marquez.
Emily (as she is called) moved from making batik to painting with acrylic polymer on canvas at the age of 78 and in the next eight years produced around three thousand paintings. Their impact, both as an emotionally communicative experience and in terms of a painting intelligence, is staggering.