Tag Archives: Laura Hoptman

Features Reviews
Installation view of “The Forever Now: Contemporary Painting in an Atemporal World” at the Museum of Modern Art, New York (December 14, 2014-April 5, 2015). JOHN WRONN/©2014 THE MUSEUM OF MODERN ART

Structure Rising: David Salle on ‘The Forever Now’ at MoMA

What the flawed survey tells us about painting today Read More


Cut-and-Paste Culture: The New Collage

Contemporary artists are updating the modernist tradition with new tactics and new media Read More


That Seventies Sensibility

A wave of exhibitions shows how the open-ended, experimental, hardscrabble, less cynical esthetic of the ’70s is appealing to artists and curators Read More


Comic Relief

The boundary between fine art and graphic novels has grown increasingly porous Read More


Clothes Connections

Shinique Smith transforms piles of garments destined for export into eye– and thought–provoking installations. Read More


You Had to Be There

More and more artworks exist not as objects but as ephemeral events—a conversation, a thunderclap, a slow-motion kiss—that insist viewers take part. Read More


Slides and Prejudice

The controversy around painting from photographs continues as new generations and new image-making technologies keep the debate alive. Read More


Why Have There Been No Great Women Comic-Book Artists?

With a dual-venue exhibition in Los Angeles, comics by masters such as Winsor McCay, Chris Ware, and Charles Schulz have been elevated from pop culture to fine art. But as these artists receive their due, the show has sparked debate over the rightful place of women in the comic canon. Read More

Grosse uses painting to create her own kind of space. The site-specific Double Floor Painting, 2004, was installed at Kunsthallen Brandts Klaedefabrik in Odense, Denmark. COURTESY THE ARTIST AND CHRISTOPHER GRIMES GALLERY, SANTA MONICA

What Makes a Painting a Painting?

It used to be simple: wet paint on a flat surface. No more. Today painting can include photography, digital prints, sculpture, and a host of other materials—but not necessarily paint. Read More

John Wesley’s comic-book esthetic, as in Aer Lingus, 2002, appeals to younger artists. COURTESY FREDERICKS FREISER GALLERY, NEW YORK

What’s So Funny About Contemporary Art?

Artists are finding inspiration in gags, slapstick, clowns, comics, and stand-up comedy. The results are sometimes satirical, sometimes ludicrous, and sometimes ‘so funny you could cry’. Read More