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.
The painter Barkley L. Hendricks caught not only the mood, but also the dress of black Americans in the late 1960s and early 1970s. Indeed, the subhead of the Studio Museum’s exhibition, “Birth of the Cool,” gives the nod to the development of a style whose casual hipness and intimated militancy marked a generation of African Americans.
March 6 to 24, 2009 24 Spring Street New York City, 212 965 9995 POETRY FOR ART presents newly published poetry (or poetry posted to the web for the first time) that relates, responds, or is dedicated to the work of a contemporary artist on display in New York or elsewhere at the time of…
While Fyfe has worked with combining more traditional methods of painting with textile collages for years, it is through the overt focus on counterparts in this exhibition, contrasting the more serious with the playful and the reserved with the whimsical, that Fyfe reveals both the diversity of his artistic interests and the extent of expressive versatility he has reached in his work.
“Rebus,” conceived and spearheaded by an artist, Brazilian conceptual trickster, Vik Muniz, made me re-think the current trend of curator-as-artist and made me see MoMA’s amazing collection in new ways (yes, that old cliché). Plus, it even made me laugh out loud.
Life on Mars shares a number of artists with Unmonumental, including Mark Bradford, Cao Fei, Thomas Hirschhorn, Matthew Monahan, Manfred Pernice, and Susan Philipsz. For a show of only 39 artists, that makes nearly a sixth. This is perhaps unsurprising considering the New Museum’s Eungie Joo served on the advisory committee for the 2008 International, but is rather suspect for a show that purports to be global in its representation. Suspect as well is that all but seven of the artists are from the US or Europe and only twelve are women.
For decades, Diao has injected deeply personal, even confessional content onto the placid surfaces and into the untroubled spaces of Modernism by way of a formal vocabulary grounded in the conventions of presentation diagrams, plans, text. The new work retains its erstwhile formal elegance and restraint, but rueful humor is replaced by a seething emotional undertow stemming from the artist’s inherited memories of his family’s displacement and fragmentation at the hands of the Chinese government.
Lin has managed, through wit and a visionary interpretation of speech, to create a low-relief sculpture that refers simultaneously to American political and artistic history.
Pinocchio’s nose grew when he lied, and so he is a perfect role model for this artist whose magnificently chaotic installation presents the truthful lies of art
Stuart Shils: Recent Paintings at Tibor de Nagy Gallery and John Dubrow: Small Landscapes at Lori Bookstein Fine Art
The exhibitions of Shils and Dubrow overlapped by only a couple days, just enough to allow fresh comparisons between the two. Their differences intrigue: could it be that Shils seeks evocative means of representing, while Dubrow peruses the workings of representation itself?