This month, our Back to School session addresses topics ranging from self-directed learning to formal pedagogy to the intersections of art and academics. Today from our sister publication Art Practical we bring you a review by Jessica Brier of On Kawara’s project Pure Consciousness. Brier draws connections between the malleability of Kawara’s conceptualist exploration of time and how the placing of his works within kindergartens across the globe challenges the[…..]

For the next three years, the estimable Underground Museum, co-founded by husband and wife Noah and Karon Davis, will bring artworks from Museum of Contemporary Art’s (MOCA) permanent collection to its unassuming storefront in the largely black and Latino working-class neighborhoods of West Adams and Crenshaw. Reciprocally, MOCA presents Noah Davis’ Imitation of Wealth, which was first exhibited at the Underground Museum, in its new[…..]

The first retrospective since On Kawara’s death in July 2014, On Kawara—Silence at the Guggenheim Museum presents fifty years of the artist’s work. At the core of the exhibition are the daily practices that constituted Kawara’s life and art: the conceptual rituals that produced the Today, I Got Up, I Met, I Went, and I Am Still Alive series. Each series represents a different way[…..]

Today’s article is from our dear friends at Art Practical, where Jessica Brier discusses the new work by On Kawara at the San Francisco Art Institute’s Walter and McBean Galleries. It’s pretty safe to say that Conceptual Art’s moment has come and gone. Now that we are living in a period in which virtually all art is expected to be “conceptual” in some way or[…..]