Laib sees his art as having a political dimension, in the sense that the production of cultural artifacts change people and institutions.
Taking subjects from the raw materials for old master art, Steir transforms them in accord with her very contemporary sensibility.
October 21, 2009—March 28, 2010 Solomon R. Guggenheim Museum 1071 Fifth Avenue (at 89th Street) New York City 212-423-3500 Anish Kapoor’s Memory, a 24-ton metallic blimp measuring approximately 47 x 29 x 15 feet overall, is imposing at a number of levels. It requires the viewer to use his/her own memory to create an image…
Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.
She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.
Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.
Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.
If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic.
To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter.
“Black has an inner sound of nothingness bereft of all possibilities…”
— Vasily Kandinsky, On the Spiritual in Art (1910)