Carolee Thea happens to have been both installation artist and curator in her ever-evolving career as an artist, historian, curator, and writer. Now, she’s asking the questions of some of the most dynamic names in curating with her d.a.p release On Curating // Interviews with Ten International Curators , a follow-up to her foci // Interviews with Ten International Curators .
Morgan O’Hara’s LIVE TRANSMISSION drawings—part object, part performance—catalog movement. It was only natural that she undergo her latest performative drawings at The LAB gallery in Midtown. Morgan O’Hara used the repurosed storefront as a stage, with a black-and-white backdrop of a blown-up 2001 drawing, collaborating with six musicians over a week’s time. Richard J. Goldstein talks to O’Hara and alt-classical musician Peter Gregson.
DOLK has gone from painting on the sides of abandoned houses in the Norwegian countryside to stenciling on buildings near high-traffic Williamsburg locales. Richard J. Goldstein caught up with him in the backyard of the Brooklynite Gallery in Bed-Stuy.
Nancy Spero’s 1976 Torture of Women confronts the viewer with what appear to be receipts of violence carried out on women…34 years later Siglio Press chronicles her epic work.
Curator Lowery Stokes Sims is blogging about the process of putting together The Global Africa Project, which opens at the Museum of Arts and Design this November. She speaks with Sharmila Venkatasubban about finding her blogging voice and “decentralizing her role as a curator” by making her process public.
Weaving through philosophical analysis, photojournalism, propaganda, quantum physics, and cyber-culture, Fred Ritchin’s recently reprinted 2008 book After Photography charts an effective path through the multifarious aspects of digital photography, illuminating a new world of spectacle as it emerges.
David Horvitz,infuses his practice with generosity and free distribution, concepts that are at the forefront of his most recent endeavor, Drugstore Beetle.
James Powers’ found notes, at first glance, seem like off-color scribblings by creepy schoolchildren. Upon closer examination, however, one recognizes his painstaking colored pencil markings that mimic the pen and marker scrawl of their original authors, enabling him to add his personal touch. He discusses his process with David Goodman.
On the morning of Saturday March 27, 2010, the MoMA opened with Marina Abramovic seated facing a table and an empty chair, on schedule, ready to receive visitors as part of her ongoing marathon performance “The Artist is Present.” But this day was different…
Vera Iliatova takes the group show as an opportunity to reveal the network existing between artists with Tenants. Hanging works side by side she gives context, not in terms of style, price tag, gender, or age, but in terms of friends.
On a rainy April day last year, I went to visit Julia Christensen in Cleveland, Ohio. Julia is a multimedia artist and writer who teaches at Oberlin College. Julia gave me a tour of Cleveland that included sights far from the usual tourist attractions.
Brad Alexander, originally from Philadelphia, Pennsylvania, has been living in Southern Germany since graduating from Wesleyan University in 2008.
From the archives and across state lines, BOMB on the Scene hopped on New Jersey Transit to visit Paul Henry Ramirez. Since painter Roberto Juarez’s 2007 essay on his work for BOMB’s 25th Anniversary America’s issue, Paul Henry Ramirez has relocated his studio to Hamilton, New Jersey from Greenpoint, Brooklyn.
The artist Anton Ginzburg is a connoisseur of stasis, forming sculptural and light-based installations that freeze a moment from history — or just as frequently, a moment of artistic conception—in time.
A new exhibition in the expansive Württembergischer Kunstverein in the city of Stuttgart in southeastern Germany is the first comprehensive solo show for Cologne-born artist Bettina Lockemann. Serving as a prolonged investigation of documentary technique and its aesthetic, nearly all of the numerous photographic series and several videos depict sites of the artist’s international travel.
As I stepped into the Guggenheim’s rotunda last week, I noticed a young man and woman, in the center of the lobby, locked in a passionate kiss. Mildly irritated and slightly embarrassed at such blatant attention seeking, I continued to the next level of the gallery. I had come to see some art.
Deana Lawson’s photographs are steeped in her community. And just last week she brought the work back to Bed-Stuy in a talk at Brownstone Books. She spoke about work featured in her recently published catalogue Corporeal. Rooted by questions of the family album she investigates the phenomenon of the arresting beauty of the framed moment. Without sentiment, Lawson pushes on and into the lives of her subjects in which dialogue on representation’s process unfolds.
On the last weekend of January, the Art Los Angeles Contemporary fair (ALAC) stamped an impressive footprint on the second floor of the Pacific Design Center (PDC). The PDC, aka “The Blue Whale” beached up on West Hollywood in 1975. Measuring about 1.2M square feet, it is an imposing piece of architecture at best, and a colossal eyesore to its neighbors at worst. Normally the PDC is utilized by the design community for showroom space but it has also provided comfortable accommodations for all sorts of events. In this case, and not without a hint of irony, the PDC hosted an Art Fair.
Everyone is sad for X Initiative’s one year art attack on Chelsea come to an end. But if we had to see ‘em go, it was sure nice to see ‘em go out with a bang. Their final challenge? Inviting anyone and everyone to Bring Your Own Art between 11am February 3rd and 11am February 4th, and install it wherever they could find an inch of free wall or floor space. That’s it. No rules, no curators, no mercy. The ensuing joyous bedlam represented a 24-hour condensed version of the X Initiave’s bold efforts to bring some much-needed excitement and optimism to Chelsea.
The idea of curating a show entirely from Post-it notes is so simple that it quietly slipped below my critical radar. The concept alone is very layered and clever, in addition to the fact that the format would serve well in a charitable capacity.
I stopped by PPOW to see the exhibition Martin Wong: Everything Must Go. Martin’s sepia toned palette is, like old postcards, familiar made elegiac, the ghost of Loisaida past. His signature color field, red bricks, lovingly rendered, memorialized but a single decade in time. I was overwhelmed with longing…
In the final installment of the WHAT STATE ABSTRACTION series, Marc Handelman and Cheryl Donegan discuss the resurgence of abstract painting in the early 2000s.
As I write, my husband and daughter are threatening to cremate my books and preserve them in an urn for me for eternity. This is not going to happen (and they know this).
In this penultimate installment, Caroll Dunham and Keltie Ferris discuss “bitchiness” in Abstract painting.
A new gallery opening in the wake of this depression is nothing short of a miracle, but to say that Prism Gallery “opened” is an understatement. Its appearance in Los Angeles was more like a close encounter of the third kind.
Lars Elling reconsiders Artaud giving us theater and its double, painting. True to painting, he reels the viewer in; true to theater, he creates a scene to unfold and hemorrhage. Watch a virtual gallery walkthrough of his show Fictions at Nicholas Robinson Gallery.
Eric Wendel describes his predilection for abstraction despite its contradictory nature, while Steve DiBenedetto imagines his own abstract exchange.
William Powhida, known for the work created by his alter-ego, also named William Powhida, blends a celebrity’s sense of entitlement with a too smart for his own good attitude problem, much like an old-school criminal mastermind from a Batman comic book.