The Foster Prize at the ICA Boston is one of the perennial Boston happenings where we take part in our favorite pastime: complaining. We complain about it from beginning to end investigating the minutia, gossiping about the motivations behind nominations, and frowning at the notion that any of the art could be worth our time. This worthwhile award has been slighted in recent years as[…..]
It’s the burning question floating around London’s artworld these days. The number of smug souls who have entered James Turrell’s giant sphere at Gagosian Gallery slowly grows as the days pass, while others desperately long to get inside and experience first-hand what the buzz is all about. For decades, the illustrious Californian artist has used light as his medium. His aspirations have never been modest.[…..]
Isaac Tin Wei Lin’s current exhibition at the Print Center is his first solo show in the Makeready series, entitled One of Us. Consisting of a silkscreen installation, 26 gouache paintings, and a freehand mural, the framed gouache drawings greet us and reveal a bit of the extensive processes in the exhibition. More interesting as a group than they are individually, the power of these[…..]
While elevating trash is nothing new in art, Partegàs has a knack for knowing when to exercise supreme control and when to recede. In a group of tree sculptures, each titled Overcast, bags are tied over the branches as if to protect from the elements. At first glance, they seem like castoffs from the Home Depot Garden Center. However, the plastic is heavier than that[…..]
“What is the function of art, or the nature of art? If we continue our analogy of the forms art takes as being art’s language one can realize then that a work of art is a kind of proposition presented within the context of art as a comment on art. We can then go further and analyze the types of propositions.” – Art after Philosophy[…..]
Today’s article is from our friends at Art Practical, where Mary Anne Kluth discusses a sculptural presentation of C-prints by Mariah Robertson at the NOMA Gallery in San Francisco. Mariah Robertson’s C-prints at NOMA Gallery are tactile, warped celebrations of the physical process of color photography rooted in the medium’s tradition of experimentation. Manipulating the fundamental interactions of light, paper, and dyes through the exposure[…..]
What makes an art exhibition political? The 2010 São Paulo Bienal, There is always a cup of sea to sail in, uses Brazilian poet Jorge de Lima’s line as a metaphorical container to address the ambitious theme of art and politics. The head curators Agnaldo Farias and Moacir dos Anjos see the title as an expression of the essential aspiration of the exhibition, “to affirm[…..]
