Andrew Lampert, still from DCP/Steenbeck, 2014. Video, TRT 4:53 minutes. Courtesy of the artist.
A show examining our relationship to tech, old and new. ...
 
Elizabeth Ferry, installation view of "Dems Toad," 2014, at Honey Ramka. Courtesy of the gallery.
An exhibition of sculptures and paintings of beastly sexual energy. ...
 
Carla Gannis, The Garden of Emoji Delights, 2014. Digital C-print, detail of left panel. Courtesy of the Artists
On view at Kasia Kay Art Projects, Chicago ...
 


Jessica Cheung, Self Portrait, from the Umbrella Revolution series, 2014, unfinished.

Painting from the Barricades: Self-Portrait with a Yellow Umbrella


Statement of artist protester Jessica Cheung and comment by David Cohen


Robert Janitz, Mirrors, 2014. Oil, wax, flour on linen, 63.5 x 51 cm. Courtesy of the artist and Meyer Riegger Berlin.

L’Orientaliste on the Continent: Robert Janitz in Berlin


The artist’s first solo show in Berlin runs through October 25.


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Special Low Frequency: Yoshi Wada & Tashi Wada at Issue Project Room


A performance of drone and minimal music for the body and head.


Samuel Fosso, Mémoire d'un ami, 2000. Gelatin-silver print, 98 x 146 cm. Courtesy of the Walther Collection.

“Would You Please Keep Looking, Please?”: Samuel Fosso at the Walther Collection


Fosso challenges visions of African identity through self-portraiture.


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Philly Season Premiere October 8 and Line Up for Anniversary Edition October 24


shows include Nicole Eisenman at the ICA


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In All Their Wondrous Weirdness: Raphael Rubinstein’s Personal Revisionist Dictionary of Art


Launch at White Columns, Friday, October 3


Xanti Schawinsky, Sphera (2859), 1970. Airbrush paint on two layers of stretched guaze on frame, 37 x 36.75 x 1.25 inches. Photograph courtesy of Broadway 1602.

Revival: Xanti Schawinsky is Rediscovered


Two concurrent exhibitions of the artist’s work run in Midtown and Soho.


Josh Dorman, Memento Mori, 2014. Ink, acrylic and antique paper on two panels, 56 x 120 inches. Courtesy of the artist and Ryan Lee Gallery.

Nature Tries Again: Josh Dorman at Ryan Lee


Geological-, biological-, and mechanical-history paintings as collage.


Paul Sietsema, Red painting, 2014. Enamel on linen, 50 1/8 x 46 3/8 inches. Courtesy of the artist and Matthew Marks Gallery.

Trompe-l’oeil and Postmodern Cheek: Paul Sietsema at Matthew Marks


Is trompe-l’oeil painting inherently anti-climactic?


Ara Merjian, Roberta Smith, David Cohen and Stephen Westfall at The Review Panel, October 2013. Photo: Jill Krementz

New Kid, Gloves Off


Thoughts on negative criticism, The Review Panel and his job from recently appointed Associate Editor