A Sign of the Times: Kahlil Robert Irving and Lyndon Barrois Jr. at 47 Canal
Attempting to find meaning in the gaps between representations of time, this two-person exhibition is more diagnostic than dreamlike.
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Christian Marclay
Christian Marclay’s 48 War Movies Exposes the Violence of Our Popular Imagination
War movies perform a clever trick: they create coherent, digestible narratives out of incomprehensible violence. Christian Marclay inverts this cinematic alchemy in his video, which premiered at this…
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Appropriation Inc.: Christian Marclay Works with Snapchat to Play with User Content
There's an element of the company flaunting its ability to do with the snaps what it wishes, testing boundaries with Marclay as cover.
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Christian Marclay Fans, Rejoice: Artist’s Major, Menacing Venice Biennale Video Will Land in New York
The video, '48 War Movies,' involves precisely that, screening on loop in a menacing haze of violence.
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Christian Marclay Project Manipulating Snapchat Sounds to Make U.S. Debut at LACMA
The presentation harnesses the sounds and images of social media posts to create immersive sound installations.
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Small and Heavy Spheres Turn: Christian Marclay Plays a Calder Mobile at the Whitney Museum
A freeform performance accompanied the exhibition "Calder: Hypermobility."
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Broken Music: A Show Devoted to Ursula Block Delves Deep into Sound-Art Lore
The first trip Ursula Block took to New York was in 1974, and the occasion included spending time in a gallery with Joseph Beuys and a live coyote. The most recent visit came just a few weeks…
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Best of London, 2015
Ralph Rugoff is director of the Hayward Gallery in London. He recently curated the 13th Lyon Biennale, on view through Jan. 3, and is currently organizing a group show featuring video work that…
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Future Imperfect: Robert Zemeckis in Retrospective
Two thousand fifteen was destined to be the year of Robert Zemeckis since at least 1989, the same year a frizzy-haired scientist and his baby-faced protégé set the clock forward to October 21…
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Christian Marclay
It is perhaps unsurprising that Marclay’s latest exhibition at White Cube, following the success of The Clock (2010), conveyed an air of “after the party” dissipation. …
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