Ken Price passed away weeks before his first retrospective opened at Los Angeles County Museum of Art in 2012. Last year, it travelled to the Metropolitan Museum, while a show of his works on paper opened at Drawing Center. For New York, the two exhibitions were an overdue exposure. Price didn’t fit neatly into its narrative of contemporary art: his sculptures are concerned with the materiality of surfaces, color (bright ones!), shape (both organic and geometric), the play of light, and a wh... [more]
As I approach the exhibition at The Curator Gallery and peer through the front wall of glass, the art inside reminds me of a modernist painter. Maybe someone who began their career as a Clyfford Still fan and has now pushed their palette past complex chromatic correlations to a more condensed and minimalist black and white expression. To my surprise they are not paintings at all, but nine color photographs captured in large format through the lens of a view camera, all created in 2013. They sho... [more]
Friezer Burn: Frieze, ArtExpo, and the paradox of taste
When artist and veteran Frieze visitor Darren Jones attended ArtExpo last month he found a parallel art world with its own culture and convictions.
Depending on one’s relationship to art fairs such as Frieze, the social and professional rituals associated with attending them can cause fevered excitement, or make the blood run, well, cold. Visit often enough and those galleries and artists that have been admitted to this carefully guarded system reveal the p... [more]
Al's Grand Hotel and Public Fiction Bring LA Hospitality to Randall's Island
Who wants to spend the night in an art fair? By Allison Kuo
A lucky few attendees of this year’s Frieze New York Art Fair will be spending the night on Randall’s Island as a part of Frieze Projects’ re-staging of Al’s Grand Hotel, a work from 1971 in which the LA artist Allen Ruppersberg ran a fully functioning hotel out of a converted home on the Sunset Strip. This is the first, and maybe only time for the art f... [more]
A lucky few attendees of this year’s Frieze New York Art Fair will be spending the night on Randall’s Island as a part of Frieze Projects’ re-staging of Al’s Grand Hotel, a work from 1971 in which the LA artist Allen Ruppersberg ran a fully functioning hotel out of a converted home on the Sunset Strip. This is the first, and maybe only time for the art fair to keep overnight guests, and in order to do so they have arranged for a dedicated bathroom and shower, extra securit... [more]
Depending on one’s relationship to art fairs such as Frieze, the social and professional rituals associated with attending them can cause fevered excitement, or make the blood run, well, cold. Visit often enough and those galleries and artists that have been admitted to this carefully guarded system reveal the political hierarchies of this particular art world. While each fair has its own approach, thousands of works, and new artists each year, the perennial experience can be one of creeping... [more]
PULSE Art Fair is getting a makeover this year as it welcomes contemporary art market vet Helen Toomer. Toomer is known for her former Lower East Side gallery Toomer Labdza (now closed), her role at the helm of the Collective Design Fair, and her development of international lifestyle blog Artlog. The newly appointed Director will be shaking things up as PULSE enters its 10th year on the scene. We spoke with Toomer to get the inside scoop on what’s on the docket this year for PULSE NYC. ... [more]
This weekend the art circus comes to New York City. On Friday the annual Frieze Art Fair opens on Randall’s Island for four festive days along with a smorgasbord of satellite fairs scattered throughout the city. Trying to see everything almost always means you’ll remember next to nothing, which is certainly a bummer when the circus leaves town. But with a good strategy and the trusty guide we’ve assembled you should be able to navigate the madness, catch some interesting p... [more]
So you may have heard a little story about MoMA’s plans for 2015… and, well, they’re not true. Yes our story about MoMA showing only women artists for the year, in temporary exhibitions and in the permanent collection, was an April Fool’s hoax, published alongside stories about Putin’s new vocation as a painter, Gagosian opening a new location on St. Bart’s and Jemima Kirke quitting the HBO series Girls in order to focus on art. (Read the original post here.)... [more]
Presently, the walls of the Venus Over Manhattan gallery are covered in every oceanic shade of blue, aqua, and green, drenching the concrete space with waves of intense cool. More than forty frames—some larger than chalkboards, some the size of table menus—fill Are Your Motives Pure?, an exhibition comprised solely of the surfer paintings Raymond Pettibon has made since 1985. Somewhere in the all the watery pigments small figures make their way across massive curls. Poised and up aga... [more]
The title says it: Do you want the cosmetic version or do you want the real deal? Los Angeles Poverty Department, 1985-2014. When John Malpede founded the LAPD (a play on the police department’s name) thirty years ago and began collaborating with the homeless and formerly homeless to stage performances and confrontational theater, it was a decade before relational aesthetics was coined by Nicolas Bourriaud, and more than two decades before MFA programs in ‘social practice’ began spr... [more]
It would be ridiculous to discuss gender issues, stereotyping, objectification, fetish, or fantasy in contemporary art without Laurie Simmons. For nearly four decades, using a variety of subjects and settings that include toys, costumes, collage, puppets, and people, Simmons’ photographs have created an indelible interpretation of how perception is formed.
The current exhibition at Salon 94, Kigurumi, Dollers and How We See*, features Simmons' latest series of pigment prints. The bulk of... [more]
Forty-six of French artist Germaine Richier’s sculptures fill the three floors of the Dominique Lévy gallery in a solo exhibition of her work. A collection of silver gelatin photographs of Richier and her studio taken by her creative companion Brassaï provides a grounding backdrop for the sprawling show, which encompasses multiple decades of Richier’s work, allowing visitors to see how Richier’s artistic vision evolved throughout her life.
It’s a matter of comparison. Fema... [more]
Liliya Lifanova received her MFA from SAIC in 2010. Following that, she found herself asking a familiar question to many young artists: what next? Nurtured by the inclusive, critical and supportive, art-centered environment of graduate school, her first post-graduation initiative was a take on the practice of residencies. Called Artist in YOUR Residence, the purpose of the project was to explore concepts of modern patronage and bypass the traditional models for a direct relationship between Artist and... [more]
Maria Lassnig’s brushy oil paintings could work as an antidote to the malady of self-consciousness. They are so potently focused on the body—particularly Lassnig’s body—that they pull you completely out of your own head and take you straight into her’s, which is not often a comfortable place to be. The tremendous exhibition of her work at MoMA P.S. 1 spans her seven-decade career and includes a quartet of films and a room of watercolors in addition to the spread of oil p... [more]
It’s clear from looking at Robin F. Williams’s recent work at PPOW that the painter has been busy. “Sons of the Pioneers,” her second solo show at the gallery since 2011, consists of ten oil paintings and one drawing (all created between 2012 and 2014). It’s an ambitious exhibition that builds from her last series of portraits, which featured teenagers hiding behind tough looks and couture armor. The textures and the overly elaborate details of their outfits were thr... [more]