Friday, January 6th, 2017
 
KarinSchneider_feature
Cannibalization is a creative act in the artist’s recent show of new text-based and reductivist work. ...
Friday, October 28th, 2016
 
Nathaniel Dorsky, Autumn, 2016. Silent 16mm color film, TRT: 26:00. Courtesy of the artist and New York Film Festival.
Two experimental filmmakers depict the world, using the methodology of poetry. ...
Friday, October 14th, 2016
 
Arlene Shechet, A Night Out, 2011. Glazed Ceramic, acrylic paint, and hardwood, 45 x 13 x 17 inches, Courtesy of the artist and Sikkema Jenkins & Co.
As stunning new show opens at Sikkema Jenkins & Co, a look back at last year’s retrospective at Boston’s ICA ...
 

Friday, December 2nd, 2016

lowe-for-cover

November 15, 2016: Kerry James Marshall at Met Breuer and Marilyn Minter at Brooklyn Museum


Zoë Lescaze, Nancy Princenthal and Christian Viveros-Fauné joined moderator David Cohen.

Sunday, November 27th, 2016

hollowell_feature

Sunset Sex: Loie Hollowell at Feuer/Mesler


Hollowell combines eroticism, landscape, and allusions to natural and human form.

Saturday, November 19th, 2016

Liam Gillick, Industry and Intelligence: Contemporary Art Since 1820 (Columbia University Press, 2016). Courtesy the publisher.

Pedagogy on the Loose: A Book of Lectures by Liam Gillick


Industry and Intelligence: Contemporary Art Since 1820

Thursday, November 17th, 2016

Siri Berg in her New York Studio, 2011. Photo courtesy of Peter Hionas

Color Theory: Siri Berg opens at the Shirley Fiterman Art Center


Siri Berg: In Color, the retrospective of the Swedish-born veteran of hard-edge abstraction curated by Peter Hionas, opens November 17 at the Shirley Fiterman Art Center at Borough of Manhattan Community College. Berg, who is a thriving and active artist now in her mid-90s, will also be the subject of a documentary set to premiere…

Tuesday, November 15th, 2016

jones Target

X-Ray Vision: Mary Jones discusses her work with Brenda Zlamany


Mary Jones discusses her work with fellow artist Brenda Zlamany at her one-person show “Proxima b” at John Molloy Gallery (on view through November 26) and in her Chelsea studio. Really, the conversation began when Jones sat for a portrait in Zlamany’s Watercolor Portrait a Day project, which lead to an article here at artcritical…

Tuesday, November 15th, 2016

Marilyn Minter, Blue Poles, 2007. Enamel on metal, 60 x 72 inches. Private collection, Switzerland

The Review Panel is Tonight: Kerry James Marshall and Marilyn Minter to be discussed at Brooklyn Public Library, 7pm


Moderator David Cohen’s guests are Zoë Lescaze, Nancy Princenthal and Christian Viveros-Fauné   Reserve seats now  

Tuesday, November 15th, 2016

kelley_walker_aquafresh2

The Obligation to Explain


One of the striking aspects of the controversy around Kelley Walker’s exhibition at the Saint Louis Contemporary Art Museum (CAM) is how many important issues it raises, including, obviously, the perilous state of race relations in the country; the dilemmas that arise when one person’s freedom of speech is perceived by someone else as hate…

Tuesday, November 15th, 2016

Jill Magid, Ex-Voto: Miracle of the Diamond, 2016. Oil on tin, 9.84 x 4.59 x 3.46cm. Painted by Daniel Vilchis.

“My work goes beyond metaphor”: A Conversation with Jill Magid


How is an artist’s legacy kept and remembered? Jill Magid’s recent work examines an estate problem.

Monday, November 14th, 2016

Installation shot of the exhibition under review, courtesy of ART 3/ Silas Shabelewska Gallery

Fulfillment Centers: Brett Wallace at ART3


This recent Bushwick show examined the relationship between digital and physical labor

Wednesday, November 9th, 2016

Kelley Walker, Schema: Aquafresh plus Crest with Scope, 2003. Digital file, dimensions variable. Courtesy the artist; Paula Cooper Gallery, New York; Thomas Dane Gallery, London; and Galerie Gisela Capitain, Cologne.

The Obligation to Explain


“if Kelley Walker had made a cogent argument for his art… there would have been far fewer expressions of anger and outrage.”