The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
The paintings in John Currin’s show at Dallas Contemporary, a non-collecting warehouse museum, widely induced a queasy, unsettling tension. A common response to the artist’s work, the visceral repulsion and simultaneous attraction result from an unresolvable friction...
Two weeks after the exhibition “Thomas Joshua Cooper: The World’s Edge” opened last fall at the Los Angeles County Museum of Art, The New Yorker magazine published a piece by Dana Goodyear titled “The Ends of the Earth: Thomas Joshua Cooper risks his life to...
“Elegy,” the title of Cynthia Daignault’s show, referenced Robert Motherwell’s 1948-1967 “Elegies to the Spanish Republic.” In contrast to his abstractions mourning the results of the Spanish Civil War, her representational portrayals lament the passage of time, with...
Upon entering the gallery it is hard not to do a double-take. Seated, hunched over on the railing that parallels the entrance is a life-sized figure, the artist’s doppelganger. This crocheted replica dressed in his signature clothing— a blue t-shirt, black Levi’s...
Even in a white cube, there is always an element of architectural engagement to grapple with when laying out out an exhibition. But when the exhibition space is not a white cube -- and moreover, when the venue itself is a storied architectural landmark, such as the...