The cousin, flip side, and feeder to the museum, in today’s money-saturated world of contemporary art, is the private collection. The necessity of this relationship might be surprising to the average museum visitor, who often looks to museums as the centers of the art world. Private collections, however, shape our understanding of art history and production not only by determining which artworks are available for display and loan, but by actively applying curatorial labor towards their ca... [more]
What does vanitas look like today? by Jesi Khadivi Paweł Althamer, Mona Hatoum, Jeppe Hein, James Hopkins, Alicja Kwade, Dieter Roth, Tomas Saraceno, Thomas Schütte, Roman Signer, Daniel Spoerri, Katja Strunz, KEI TAKEMURA, Luca Trevisani, Reijiro Wada at Georg Kolbe Museum
June 15th - August 31st
A human skull rests atop a modest wooden table flanked by a chronometer, books, musical instruments, an earthenware pot, and swathes of silk. Harmen Steenwyck’s Still Life: An Allegory of the Vanities of Human Life (1612-1656) is emblematic of the vanitas genre, most commonly known for its intimate tabletop tableaux alluding to the transient nature of all worldly goods and pursuits. Upon entering Vanitas – Nothing is Forever Anyway at Berlin’s Georg Kolbe Museum, one immediate... [more]
Graffiti and Street Art in a museum setting have a new audience, at the Pera Museum in the Beyoğlu district of Istanbul. Curated by the museum’s Roxane Ayral, “Language of the Wall” is the first exhibition of its kind in Turkey to bring graffiti indoors in an academic setting, taking over three floors of the private museum. For its introduction, Ayral has chosen an impressive roster of international artists as well as familiar locals to educate the Istanbul art connoisseur, including... [more]
Ruin Value: Sammlung Boros in Berlin
Stephanie Cristello considers the poetic weight of a WWII bunker that was designed to be a ruin and became an art gallery: the site of the Boros Collection.
What if ruins were not a remnant of civilization, but the very purpose of it?
It is through this very unnatural state that Albert Speer, Hitler’s chief architect and Minister of Armaments and War Production for the Third Reich, conceived the concept of "ruin value." His... [more]
Your background is in Fine Art – how have you developed your style back in London and how has it changed?
I studied classical oil painting in Italy for four years and I came back to London around seven years ago. I have always moved around in my work and gone through phases, and Italy in a way felt like another artistic experiment, but the technique we learnt in the studio was from the 19th century, and the sheer discipline of it was a big shock when I first arrived. I had never spent mo... [more]
Graffiti art that graces city walls stands resolutely apart from other forms of art: it can’t be purchased, owned and moved into a gallery or private home like a canvased painting (usually). As part of a city’s public landscape, graffiti art belongs to everybody and nobody – just like the streets they adorn. But, many images sketched along the walls of neighborhoods, such as Miami’s Wynwood area, are original creations, conceived by some of the world’s most prominent... [more]
At the heart of the works in No Can Handle is the ethos of endurance. Entering the exhibition is not unlike entering an interpretation of a physical training facility. Equipment-like inventions dangle from the ceiling and perch amidst the gallery space; there is even a painted panel squatting in the crease of a gym mat on the floor. Many of the works, like Bow 4 (2014) have a suggestive tenacity. Bow 4 is a delicately curved wooden pole bending like a “C” around an entire wall, held in plac... [more]
The new project of OSGEMEOS in the Fortes Vilaça Gallery in São Paulo is an experience of vertigo that leads directly to the unconscious. Entering the first room of the exhibition one is faced with dozens of their iconic yellow people – their signature image – plus a variety of other characters, spread through countless paintings, sculptures and installations, assembled next to each other to form an immersive environment. In the center of the room a vortex made out of d... [more]
The National Gallery’s summer exhibition Making Colour guides the audience through the spectrum of materials used throughout history to create artists’ pigment—from blues, through reds and oranges, to purples. Each room focuses on a specific colour and the multiple materials used to make it over time, from early earth pigments, through lakes (dyes made into pigment) to the new artificial coal tar derived pigments created around the time of the Impressionists. The function of t... [more]
Demolition may commence any day on New York City’s 5 Pointz, the sprawling concrete structures occupying an entire city block famously polychromed by an array of styles that over the past ten years made it one of the most recognized graffiti landmarks in the world.
Owner of the Long Island City, Queens site David Wolkoff had the art painted over last November in preparation for tearing down the former warehouse that had housed art studios at below market rates. Wolkoff was granted a speci... [more]
Independent, autonomous, alternative, experimental. These are some of the designations used to name several arts spaces inaugurated in recent years in Brazil and especially in São Paulo. The variety of nomenclatures doesn’t constitute a mere semantic shift or strategy to escape classification; it actually reflects a vast plurality of practices and positions. These spaces are as experimental as the art they produce; everything—their architecture, artists, projects, programmes, ma... [more]
Miami has often attracted a particular breed of art collector, most notably, the fair-seeking seasonal variety who favors the grab-and-go style of art acquisition. Consequentially it can seem like great art is always passing through the city, but rarely finding a home. This trend has shifted as a result of a handful of resident collectors who have committed to making Miami a cultural destination by sharing their artwork and opening their doors to the general public year-round.
The distinguishing characteristic of a p... [more]
“Time turns metaphors into things” – Robert Smithson
Ruins are often untouchable spaces. The ruin embodies architecture as memory; the site is a host to ghosts, standing half-formed and half-alive as specters from the past, "unregulated" and with "no present function,"—an artifact, as some would say, that transforms the symbolic into the concrete. The influence of the past invades potential futures of the space, so much so that the ruin is trapped in time, a cycle th... [more]
Pushkin Gallery, located on Canyon Road, opened in 2000 as the first Russian art gallery in Santa Fe. Its founder, Kenneth Pushkin, and its curator of Russian painting, Rosa Lena Reed Robinson, recently began engaging the students at the Santa Fe University of Art and Design (SFUAD) in a vibrant and innovative collaboration. Pushkin Gallery has since established the Pushkin Gallery Prize, an annual scholarship rewarded to a new media student—this summer, the gallerists have offered the bu... [more]
For some reason, in the wake of men creating darkness, they also make art: Christ gets crucified, someone paints a scene of it. War with the Japanese, a handmade game called “Kill the Jap.” Stalin shaves off and effectively enslaves a solid percentage of Russian society in order to hoist industrialization upon its weary shoulders—a porcelain plate, so you can eat off his face.
Such examples are the art and design found at Bummer, a small, eccentric exhibition on view at the W... [more]
It's a Cruel Cruel Summer at Jonathan LeVine Gallery by Matthew Keeshin Mike Ballard, BLADE, Mark Bode, Tim Conlon, Cope, Shepard Fairey, Finok, FREEDOM, Sam Friedman, Mike Giant, Maya Hayuk, Eric Haze, Horfé, HuskMitNavn, Dabs Myla, Caleb Neelon, NIagar, Cleon Peterson, Pose, Recok, Victor Reyes, Rime, RISK, ben venom at Jonathan LeVine Gallery - 557C West 23rd
August 6th - August 23rd
People say galleries get slow in the summer in New York, but there is nothing lacklustre or mundane about the group exhibition Cruel Summer at the Jonathan LeVine Gallery. Curated by collector and graffiti historian Roger Gastman, the exhibition’s title is derived from the popular song featured in the original Karate Kid film by Bananarama. The music video portrays the three female band members causing trouble and dancing throughout New York City – including a Dukes of Hazard-esque... [more]