Through his refreshing lack of self-seriousness or sanctimony, Ragnar Kjartansson has cut a jagged, joyful figure on the contemporary art scene. Indeed, with solo exhibitions in Boston and New York, the artist has recently been favored with the art world’s fickle attentions and is having something of a well-deserved moment. Ragnar Kjartansson, “The End–Venice,” 2009. Performance view. Venice, June 2009. Courtesy of the artist, Luhring[…..]

As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Matt Sussman on Apichatpong Weerasethakul’s 2007 video installation Morakot (Emerald), currently on view at the UC Berkeley Art Museum (BAM/PFA) in Berkeley, California. Named after the abandoned Bangkok hotel in which it was filmed, Apichatpong Weerasethakul’s 2007 video installationMorakot (Emerald) transforms the UC Berkeley Art Museum’s (BAM/PFA) small Matrix gallery into a kind of temporary residence.[…..]

NYC 1993: Experimental Jet Set, Trash and No Star is the New Museum’s crash course in the recent history of contemporary art in New York. The exhibition positions 1993 as a signifier for mass cultural change: the thesis being that the events of this year irrevocably directed culture towards its manifestation in 2013. NYC 1993 seems just as concerned, however, with the ways that we[…..]

For the Stedelijk Museum in Amsterdam to choose a retrospective of Mike Kelley‘s work for their first international exhibition since the reopening was, to say the least, symbolic. The Stedelijk opened its newly refurbished and expanded premises in September last year, after years (and years) of highly controversial and heavily debated refurbishments. The enormous white bath tub that is now hovering in front of the institution’s old[…..]

Any 20th century art history course worth its salt will have surely shown a slide of Robert Smithson’s Spiral Jetty and prompted students to commit to memory the work’s revolutionary scale and site specificity.  From Smithson to Christo and Jeanne Claude, the history of environmental art is by now long and celebrated.  However, after all these years, it is ripe for reevaluation by artists less[…..]

As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Bean Gilsdorf on UC Berkeley Art Museum‘s Silence exhibition. In Alan Moore’s graphic novel V for Vendetta, the main character tells his young acolyte, “Silence is a fragile thing. One loud noise and it’s gone.” On my way to the UC Berkeley Art Museum’s Silence exhibition, I had a related thought:[…..]

Today, we are excited to bring you coverage of SEE/SAW: Collective Practice in China Now at The Ullens Center for Contemporary Art (UCCA) in Beijing, from our partner ArtSpy, a website based in Beijing, P.R.China that is committed to establishing a platform for global artistic information. This article has been translated from Chinese to English. SEE/SAW ：Collective Practice in China Now was an exhibition held at Ullens Center[…..]