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.
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.
In tribute to curator Walter Liedtke, tragically killed in the Metro-North train crash Tuesday.
These hefty yet open-form, emphatic yet enigmatic assemblages of prefabricated, found, and adapted components show a youthful, spry, curiosity-filled artist at the top of his game.
Laser-cut skateboards, flocked wallpaper, buttons pinned on raw canvas, gold leaf on paper, painted aluminum sculpture and fluorescent-metallic spray paint are all interwoven with his signature silkscreen technique.