This week, the Christian Marclay: Festival will open at the Whitney Museum of American Art in New York City. The exhibition celebrates many of the artist’s graphic scores for performance and will take the form of multiple daily performances by individual musicians and vocalists. The Whitney has pulled together some of country’s finest Avant-garde musicians to play more than a dozen of Marclay’s scores dated[…..]
If the come hither of May’s New York Gallery Week annoyed the crap out of you, then maybe KRATOS — ABOUT (IL)LEGITIMATE(D) POWER at Team Gallery has just the gravitas you’ve been seeking. Monochrome in execution and serious in tone, this Debbie Downer of a show stands in stark contrast to the group hugs that typically fill galleries’ summer schedules. The show is dominated by[…..]
When I first heard that Kadar Brock was using Dungeons and Dragons dice as engines of chance to determine the elements in his new paintings, I was as suspicious of it as I am of mullets on the L Train. I’d seen his work in several recent group shows, but it didn’t really stick with me until I saw Night Fishing at Thierry Goldberg Projects[…..]
Flip through any Mike Kelley catalog and you’re likely to find a plethora of images that show the artist to be a maker of videos, installations, and objects that betray what critic Jerry Saltz once described as “clusterfuck aesthetics“. So it may be a surprise to view the relatively straightforward Arenas at Skarstedt Gallery, comprised of seven out of the eleven works from the original[…..]
Foreclosed is the kind of show that makes it seem advantageous for artists to also be craftsmen. In contrast to the parallel movements of “post-skill art” on one hand and “sloppy craft” on the other, Alison Elizabeth Taylor‘s marquetry pieces at James Cohan Gallery are constructed with incredible skill. And—when materials connect meaningfully with imagery—they are outstanding examples of art that satisfyingly integrates workmanship and[…..]
Is it true belief’s unyielding determination that redeems and protects? This question lies at the heart of Brent Green‘s solo exhibition Gravity Was Everywhere Back Then at Andrew Edlin Gallery. The issue of belief occupies both Green and the man whose work provided the inspiration for the project. The story goes like this: a man named Leonard Wood once built a house entirely by hand[…..]
In an attempt to reconcile sources of daily anxiety while simultaneously recording seemingly mundane facets of life, artist Joan Linder painstakingly illustrates the objects that fill her days. Objects such as junk mail, weeds, resumes, and domestic items are all rendered with the greatest of detail through the most economic of means, paper and pen. Cost of Living is the title of the artist’s most[…..]
