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Earlier this year at the Neuberger Museum of Art, about 30 miles outside
New York City, the Cuban-born artist Tania Bruguera, who lives and
works in Chicago, Havana and Paris and whose work examines the
relationships among ideology, power and social behaviour, mounted
a 15-year retrospective justly titled “On the Political Imaginary.”
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In 2009, I exhibited my video What Remains at the University of
Copenhagen’s medical museum. While there, I took the time to roam
through an exhibition entitled “Split + Splice: Fragments from the
Age of Biomedicine,” which had been organized by the Canadian artist,
curator and academic Martha Fleming along with four post-doctoral
researchers at the museum.
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Robert Mangold has spent much of his career exploring variations
of a formal theme: the interplay of line, frame and colour. This
Albright-Knox show features four recent series of paintings and a group
of studies for a public work, with emphasis on the two most recent
painting series, Column Structures and Ring Images.
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Expectations were high for Anish Kapoor’s latest exhibition, which marked the first time a living artist has been given free rein in the Royal Academy.
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Within the labyrinthine streets of Venice is a Gothic building that recently hosted the ambitious and unusual exhibition “In-finitum.”
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The last big Tuymans show I saw was at London’s Tate Modern about five years ago.
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In “Preventative kiss for suspicious war,” the Romanian artist Mircea Cantor uses a stripped-down approach to address conflict, policing and subjugation. Such situations always contain more than one voice or mode of interpretation, and thus contradictory perspectives are incorporated into Cantor’s work.
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In 1961, Allan Kaprow, the putative father of both performance art and installation, filled the back garden at Martha Jackson Gallery in New York with hundreds of old tires, covering the sculptures that normally resided there with tarpaper and rope.
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There is not much paleolithic-looking work in this grouping of 27 artists, but what the show might have in common with those early stabs at the medium of painting is an exploration of what abstraction can represent.
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Piero Manzoni, the puckish, baby-faced Italian, has long been beloved by art students everywhere for his Merda d’artista (1961), 90 small cans of what was purportedly his own shit, sold at the time for the price of their weight in gold.
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Fifteen years ago, Francis Alÿs began shopping at flea markets, bazaars and jumble sales for discarded paintings with which he could build an art collection. Unsurprisingly for an artist whose practice consists of open-ended, exploratory projects, he had no idea what the outcome would be.
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Housed in a modest room in the Gemäldegalerie, this small exhibition nonetheless came equipped with a big catalogue, wall texts and a videoguide. It was substantial support for an exhibition made of only three works—Mark Rothko’s Reds No. 5 (1961) and Giotto di Bondone’s Death of the Virgin (ca. 1310) and Crucifixion (ca. 1315).
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In the early 1980s, I framed a photocopy of an art-magazine reproduction of a Sherrie Levine appropriation of a Walker Evans photograph. It seemed a logical conclusion to the appropriation chain, and I can see now how it pointed to the problem with so much of the art made by the Pictures artists: there were simply too many logical conclusions.
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Contemporary art all but takes over La Serenissima during the Venice Biennale, spilling out of the Giardini and the Arsenale, the official exhibition sites, to dot the city with additional national exhibitions and special events, disturbing her serenity with art-world buzz.
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Back in the 1980s, you couldn’t go anywhere in the art world without being Baselitz-ed or Kiefer-ed to death by some angst-ridden dude (it was always a dude) who painted badly and seemed preoccupied with scrawling deep messages in German (occasionally, the artist actually knew a little German, which was always a nice surprise).
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Talk to take place January 26 at the Art Gallery of Ontario
Canadian premiere of new Marina Abramović documentary to be fêted February 22 at the TIFF Bell Lightbox
All our best wishes for the new year to come
Talks by Dan Cameron and Annie Cohen-Solal, free gallery programs among highlights of 2011
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Free exhibition at the Power Plant highlights our nation’s emerging painting stars
Award in Portrait Photography category recognizes Donald Weber's artist project in the Fall 2010 issue
More than 300 GTA teens enjoy free downtown-Toronto gallery talks during this fall’s School Hop
In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.
The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.
The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.
What happens to identity when our relationship to land and language is disrupted? This is a key question raised in “A Stake in the Ground,” an exhibition of works by 25 First Nations artists, curated by Nadia Myre, that’s currently at Montreal gallery Art Mûr.
Our education and careers site has just posted more stories and tips to help students achieve a great winter term. Highlights include a profile of internationally renowned fashion designer Jeremy Laing, a Q&A on grad schools and more.
