It's a serious show, but it's not a dick about being serious; I think that's something everyone in the art world needs to learn.
After the lecture was a tightly coiled media hour. A star was in the building. The star that built the building was in the building. I was stunned by the amount of poetry and humor that emerged inside a handful of minutes.
The pairing of Gillick, the veteran of “relational art,” and Vitale, a rising star of the NYC gallery scene is a strategic curatorial pick for the rebranded institution. This choice is as smart as it is risk-free.
Swank: saturated style, confidence, nostalgia, sex, gloss, perfection to the point of sleaze. The works reach out to you and say, “Why don't you relax and sit on the leather sofa while I mix you a drink?”
In contrast to my recent NY posts, here is a leaner wrap-up of my trip to Los Angeles for bi-coastal balance.
When Prada Marfa was inaugurated it seemed self-evident that this would lead to a situation like we find today: johnny-come-lately corporate giant seizes upon the precedent and employs it to culturally legitimize advertising.
The hot tub installed in the gallery for the opening night was just the beginning.
After spending almost four hours at Canopy, I needed a break from talking to awesome artists and eating crickets.
The two big c's are warranted here: crepuscular and chiaroscuro. The miasma of not-quite-blacks encroaching upon vulnerable fauna resembles sludgy crude oil — a reminder of the 2010 BP spill and too many others in the Gulf of Mexico and elsewhere.
Placed in a post-apocalyptic setting created with wallpaper, video and audio, Beshty's works read as a naive understanding of what it is to live in Mexico's landscape of violence.
The work of casualists and provisionalists like Walker is not Jerry Salz's “Neo-Mannerism.” These artists are, if anything, neo-modernist. This crop of new, young work in Dallas is a throwback to Giacometti, Guston, and Rothko.
The current show at the MFAH's Glassell School isn't all Political Economy 101.
The inaugural post in our new series highlighting art outside the art scene illuminates the 75 year old circus mural that inspired the Toys R Us giraffe, hidden under the ceiling of a bar in Midtown Houston.
The original “Leipzig School” was a group of artists behind the Iron Curtain, isolated from western trends. These five "New Leipzig School" artists are their students.
A good old-fashioned compare and contrast. This show marks a drastic change in O’Neil’s work.
The Linda Pace Foundation's new executive director talks to Glasstire about LPF's exhibition program, their collections, and their building plans.
Fischer makes his way though the massive Kelly retrospective and ends on a transcendent note. No more New York until spring, we promise!
Part three of Fischer's art-crammed tour of New York.
MFAH’s movie jukebox hosts a rarely-seen favorite of CAMH Director Bill Arning.
Portraits of little dogs, abstractions based on little dogs, photographs of paintings of little dogs, paintings quoting other paintings, with real-life painting of little dogs on top. It's like she's picking a scab.