Christian Marclay’s 24 hour video collage The Clock, has been making waves. Maddie Phinney investigates the ripples.
Rachel Reese talks to artist Alex Da Corte about Wings, Death Becomes Her, Tusk and his upcoming project. She attempts to talk about basketball too, but is gruffly rebuffed.
Isaiah King’s prints reflect two sides of longing—stemming from desire and plain need. In this line, his work shares a direct link to to the German Expressionists, though updated with contemporary views of graphic design.
Creativity in the wake of violence—Nilu Izadi utilizes the bullet holes on Beirut’s historic landmark Yellow House as apertures for an actual camera obscura. She speaks to Christina Eberhart about growing up in England with ties to Iran.
An ever-expanding post of drawings, photographs, observations, and inspirations. Snapshots of life in New York, things witnessed and stumbled upon; making connections and keeping an eye open. All original work by illustrator and photographer Kaye Blegvad.
Have sculpture, will travel. Isak Berbic shares his motivations and aims for nomadic sculpture.
Novelist Rick Moody pins down the silicone postmodern language of Yael Kanarek’s latest works, which struggle with notions of affiliation and territory while pointing to the potential to transcend those boundaries.
The international debut of Russian performance art group, Voina, came with the news that two members are facing jail time for their revolutionary art actions. Forrest Muelrath corresponds with the group through email and prison walls.
Sculptural weight still looms large in Scott Redden’s work. In conversation, the one-time sculptor turned painter takes Lynn Maliszewski on an excursion through his characteristically bold landscapes.
Darina Karpov’s paintings teem with figures, charting a movement of thought and image that is sudden, layered and constant. Andrew Frank spoke with her about her recent show at Pierogi Gallery, her process and the perpetual motion of her work.
Driven by collaboration, combining old and new methods, and a unique symbolism, Deborah Gans speaks to Richard J. Goldstein about the rose window she and Kiki Smith designed for the landmark Eldridge Street Synagogue.
Photographer and curator LaToya Ruby Frazier sat down with painter Greg Lindquist to discuss the aesthetics of gentrification and decay. Their Planet of Slums exhibition opens December 17th at Third Streaming in NYC.
Through his hip hop baroque style, Rashaad Newsome exposes how language is shared between cultures and across time. At the core of this, he articulates the relationship between gesture and language as an issue of abstracted identity in conversation with Richard Goldstein.
Language is a source and form of action, and anything but secure as seen in the recent WikiLeaks cables. Thom Donovan further explores the radicality of speech, in all its potential protest, with his essay on Melanie Crean’s exhibition How To Do Things With Words.
Behind Erica Harris’ collage is a life of travel and volunteer service projects. Her materials carry the stories of their sources recomposed as tales of familial and feminine struggle that cross cultures and time.
John Beeson reports from Mönchengladbach on the Museum Abteiberg’s discerning approach to curation which is based on works’ autonomy and particular vibrations. This installment of “Sight Mapping” exports some valuable perspective on curation.
Halloween always seems to start with the question, Who should I be? rather than, Who am I? After speaking with Marnie Weber, it was apparent that some of our biggest fears are of exposing the self. The masks we create in defense being all the more terrifying than what is within. For close to 30 years, Marnie Weber has centered her practice on looking inside for the characters and stories to enact. Her honesty about the sentimentality and romance at the root of her work fearlessly sets it apart.
Her latest project, Eternity Forever, incorporates film, installation, collage, and performance—including the death of one band and the birth of another. Set in Los Angeles’ Altadena Cemetery, this sixth installment of West of Rome’s Women in the City program, Weber reaches a new scale for her work giving life to her vision of a feminine brand of horror.
Influenced heavily by the figure, her background in architecture, the suburban swamplands of Lafayette, LA, and most recently, the dilapidated houses of Queens, NY, Lauren Bordes’ paintings present an alternate reality rooted firmly in our own.
Trabantimino, eight years in the making and completed just one hour before its October 7th opening at Salon 94, displays bravura mechanics, a whiff of nostalgia and a sense of humor. Liz Cohen took to task three aspects of car culture: ownership, fabrication and marketing.
In her latest project, Jane Benson slices violins, a cello, a viola, and a double bass in half—then has musicians play the severed instruments. The result: The Splits.
Andrea Neustein revisits Roman Opalka’s gray time-pieces and the alternating tones of futility and humor that give them form. PASSAGES, comprised of four such works, is up now through October 9 at Yvon Lambert Gallery.
Lauren Clay’s sculptures permeate the visual field like gamma radiation, unmistakably succulent in their Easter-egg hues. Drawing from references as varied as classical Greek symbols, a Southern Baptist upbringing, and Judy Chicago, her work is at once playful and deeply spiritual.
Joan Waltemath’s paintings are not to be seen, but experienced. Their architectural nature speaks to the body and its 1:1 connection to surface
Melissa Webb’s interactive installation The Temporary Nature of Ideas at School 33 Art Center in Baltimore had strangers creating side by side, contently and contemplatively.
Key to the City by Paul Ramirez Jonas. Did you miss out on this trans-borough adventure that had participants unlocking park gates and stepping behind closed museum doors? No worries. Follow this native New York correspondent boldly where she’s never been before—her own back-yard.
BOMB’s Richard J. Goldstein talks generational differences, scale, and what it means to be a New York Artist with Greater New York artists Sam Moyer and Franklin Evans in this cyber-roundtable discussion.
Sculptor Hans van Meeuwen’s odd fragments and modifications impinge upon the confines of any space they occupy. Summoning adolescent relations and solutions combined with innate tension, he invites viewers to revert at a whim. Lynn Maliszewski speaks with him about his process and inspiration.
Aric Mayer discusses the problems and possibilities in photographing New Orleans in the aftermath of Hurricane Katrina in this audio slideshow. Aric was the lead photographer covering the storm for The Wall Street Journal.
Coco has a career that spans over 40 years, first as a 15-year-old “writer” on subway cars and later evolving into a studio artist employing stretched canvas. He is represented in Down by Law at Eric Firestone Gallery with three paintings selected from three different periods of his career. Each canvas has as its singular theme, various mutations of his tag, “coco.”
Since the late 1980s, Rainer Ganahl has frequently exhibited his work in solo and group shows around the world; he has been included in biennials from Moscow to Shanghai, has shown in the Arsenale in Venice and as a representative in the Austrian Pavilion, and recently has opened a series of solo exhibitions in museums around Europe. He speaks with John Beeson about context, form, and the benefits of biking.