From our friends at Beautiful/Decay, today we bring you a look at the work of artist Katharina Fritsch, whose giant blue rooster Hahn/Cock (2013) was unveiled on the Fourth Plinth in Trafalgar Square, London, earlier this year. Though Fritsch’s work is often quite funny, author Pauli Ochi notes: “Fritsch’s sculpture is also deeply unnerving.” This article was originally published on October 25, 2013. Katharina Fritsch is a German-born artist who transforms[…..]

In the mid-2000s, Wynne Greenwood‘s video persona sparked an adolescent idolatry in me that really started everything. In Tracey + The Plastics, Greenwood’s three-person electro-pop band, she played all the characters, performing live shows in conversation with pre-recorded projections of herself. Watching Greenwood essentially talk to herself through Tracy, Nikki, and Cola, I was delivered a vision of the millennial queer future in which we[…..]

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Bansie Vasvani reviews Barbad Golshiri’s Curriculum Mortis at Thomas Erben Gallery in New York City. The question of martyrdom pervades Barbad Golshiri’s sculptural installation of tombstones in[…..]

From our friends at KQED, today we bring you a review of Work in Progress: Approaching Utopia at the Contemporary Jewish Museum. Author Sarah Hotchkiss notes, “…the exhibition makes an irrefutable argument for the importance of art as a tool of social change. The artists’ models, socially engaged artwork, and narrative experiments approach utopia, question it, and allow viewers to process the larger issues behind collective[…..]

Something tells me the National Security Administration is monitoring Iñigo Manglano-Ovalle’s phone calls, and not just because the NSA monitors everyone’s phone calls. Since the early days of the War on Terror, the artist has built up an impressive arsenal of devastation. Starting in 2003 with Cloud Prototype 1 – a shiny amorphous blob reminiscent of a mushroom cloud, or a deformed variation of Warhol’s[…..]

In any survey of post-war abstract painting, an inescapable topic of discussion is the grid. Usual examples cite artists such as Agnes Martin and Ad Reinhardt, and the grid as aesthetic style typically bears descriptive qualities like “clinical,” “sterile,” and “objective”—words that have minimalistic sensibilities. However, as Zachary Cahill points out in an introductory text for Grid’s World at Locust Projects in Miami, grids are[…..]

Depending on who you ask, anywhere between eight thousand and thirteen thousand people attended the vernissage of the world’s newest art fair, Sydney Contemporary. By the end of three and a half days, the fair had attracted almost twenty-nine thousand visitors eager to see the offerings from eighty-three Australian and international galleries, presenting the work of more than three hundred artists. The physical scale was[…..]