Will Rawls’ solo exhibition, "Amphigory," at Adams & Ollman in Portland, OR binds a weightless density to a lexicon of its own creation. Multi-panel installations of black & white abstract prints on paper line the three walls of the gallery space, as well as...
Just across the Ohio River from downtown Cincinnati is The Carnegie, a former library in Covington, Kentucky constructed in 1904 one of over 2,500 worldwide funded by Andrew Carnegie. Now a theater and exhibition space, the center serves the local and surrounding...
It’s one thing to engage in a discourse about the influence of art historical movements on contemporary painters, and another still to analyze a particular artist’s specific set of influences, such as Nicole Eisenman’s robust relationship with the European...
There’s something remarkable about standing in front of a painting that makes you squint, move, readjust your perspective and question your eyesight altogether. Christina Allan’s paintings do just that. Made with acrylic and spray paint, Allan’s compositions are crisp...
Cornelia Parker's landmark retrospective at Tate Britain journeys through her multimedia work to narrate a country willingly stuck in small-island-energy. Parker (b.1956) examines objects by considering how they change when their associated value is disrupted,...
The first iteration of Documenta, curated by Arnold Bode, took place in 1955. Since then, every five years for 100 days, Documenta occupies the city of Kassel, Germany. More often than not, it is an international showcase of current trends and ideas in contemporary...
In "Monsoon Season," her first ever New York solo show, on view at Charles Moffett, Natalie Strait presents new paintings of women that explore climate change, gender, queer culture and the experience of being a woman today. The women in Strait’s paintings are all...
Hidden amid the bustle of the Bowery, one of New York’s most chaotic streets, is Geary Contemporary, a gem of a gallery that has been quietly making a name for itself with engaging exhibitions of emerging artists. In its latest show, Red Velvet, Orange Crush, Geary...
It’s rare to encounter a Warhol exhibition with something genuinely new to say, but somehow Lifetimes (a co-production of Tate Modern, Museum Ludwig, Art Gallery of Ontario, and Aspen Art Museum — its only U.S. venue) accomplishes it. Thanks to both the thoughtful...
Kicking off 2022, New York’s The Hole has debuted a solo show from Gosha Levochkin, the gallery’s first with the Russian American artist. Wild, vibrant and interminably buzzing, Last Element is rife with bright constructivist shapes, cartoonish figures and references...
The woodblock prints by American painter, Frankenthaler (b. 1928) that form "Radical Beauty" at Dulwich Picture Gallery in London, follow the wave of recent retrospectives highlighting overlooked 20th-century female artists such as Hilma Af Klimt and Agnes Pelton....
As the room unfolds before a viewer’s eyes there is a veritable procession of numbers going from one to nine through all the gyrations of being outlined, filled in or partially obscured. It is as though the sequence of this set of well-known forms is taken...
Various sizes of square panels mostly covered with dots with groups of parallel lines and occasional fields of paint line the gallery walls of Locks Gallery in Jennifer Bartlett's installation "Recitative"—its title derived from a rhythmic free form vocal style of...
Robin F. Williams’ latest solo show Out Lookers at P·P·O·W teeters between dream and nightmare. It’s unnerving and off-putting with witches, ghosts and trolls whose eyes burn like balls of fire. At the same time, it’s exciting, inviting and challenges us to embrace...
Who is apologizing, and to whom? A large light installation on Victoria Square in Athens states: “We apologize for the discontent and stress that this may have caused you.” Who is included in—or excluded by—the ‘we’ and the ‘you’, respectively? What is ‘this’? Victoria is a heavily policed area, as it is home to many refugees, sex workers and substance users. It isn’t clear from the work itself if it’s apologizing to or for these populations, but the material consequence of the installation is an even heavier police presence in the area, resulting in increased harassment of the Square’s locals. On the official website for the artwork, a footnote reads: “Please accept our sincere apologies for any inconvenience that may arise from the presence of the installation in Victoria Square. We understand that even a small shift from our everyday itinerary and routine may be annoying…”. Brushing off increased policing as an “inconvenience” and a “small shift” demonstrates the disconnectedness of this supposedly socially engaged work of art, that’s based on research made “in collaboration with old and new residents from the Victoria Square neighborhood”. The piece is co-commissioned by Counterpoints Arts who, despite a focus on “arts, migration and cultural change,” evidently failed to recognize the threat that police violence poses to people within and beyond Victoria.
Though at first seeming to depict ordinary, even prudish interior domestic scenes, upon closer inspection Anne Buckwalter’s paintings reveal provocative signs of sex, eroticism and sensuality. In Clean Linens, her first solo show at Rachel Uffner Gallery, Buckwalter...
“All men are gay,” reads the cover of a newspaper from Bøssehuset (The Gay House). The newspaper is part of the exhibition Psychopathia Sexualis at the art space Overgaden in Copenhagen, which displays a combination of archival material and contemporary art—the former...
Nam June Paik, the “father of video art” and the man who coined the phrase “the electronic superhighway,” weaves humor, Buddhism, technology, music and sex. Paik was born in 1932 in Japanese-occupied Korea. Tutored in piano and composition, he attended college at the...
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