The opening of Design Miami on Tuesday had one of the most apathetic press conferences I’ve ever encountered, with the fair’s director, Rodman Primack, talking softly into a microphone…
Recently on view in the project room at Leo Koenig, Julika Rudelius's Rites of Passage (2008) is a two-channel video installation about the fabrication of political persuasiveness.
Generators loudly buzzed and grim-faced crews were hard at work on Wednesday in Manhattan's West Chelsea neighborhood, home to hundreds of art galleries, in the wake of Superstorm Sandy.
Eight months ago, Nicole Eisenman locked her paints away and turned exclusively to prints. Operating feverishly in four different workshops, both alone and in collaboration, the Brooklyn-based artis…
To use the parlance of Herman’s Hermits, there was a kind of a hush that pervaded Ridley Howard’s exhibition, aptly titled “Slows.” The work resonates with a palpable silence that’s hard to pinpoint…
My art week was minimal and partial. By the end it turned out grand. I had hundreds of errands to do and only one date circled on my calendar, or clicked, whatever, and it was to get to MPA's performa…
Photography meant many things to Sigmar Polke. At two important junctures of his career, he turned to it as a model for refashioning painting: his early "raster" pictures were entropic enlargements…
Collaboration has been central to the Swiss-born, Tucson-based Olivier Mosset's work at least since he co-founded BMPT (Buren, Mosset, Parmentier and Toroni) in Paris circa 1966. That group sought to…
Overt art-historical referencing in contemporary art, whether intended as a critique or an appreciative nod to the source, can come off as navel-gazing. And for all its punkish chutzpah and critical a…