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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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Full talks and tours schedule, Douglas Coupland conversation info, and magazine launch details posted for free day of activities
Applications due May 9 for $55,000 in prizes
Free art tours for high-school students to take place in April and May
New writers on contemporary art encouraged to apply by June 1
Dates already set for next year’s Toronto festival
Applications for this $7,000 student award are due April 6
Event to feature a conversation with Douglas Coupland, gallery tours, a magazine launch and more
Films on Shary Boyle, Elmgreen & Dragset, Michel de Broin and Jon Gnarr set to open the festival on March 22
Opening-night celebration and art-industry talks highlight fifth year of fair
Don’t miss the North American premieres of films on Candida Höfer and Thomas Struth, happening February 23
The 85-year-old artist Arnaud Maggs nudged out Fred Herzog and Alain Paiement as winner of the second annual Scotiabank Photography Award, announced last night in Toronto. This $50,000 win follows the opening of a major Maggs survey at the National Gallery of Canada.
As one of the primary exhibitions for Contact 2012, “Public: Collective Identity | Occupied Spaces” is ambitious. Charlene K. Lau observes that the two-venue show mirrors the fractures of contemporary life: public and private, visible and invisible, place and non-place.
In this review, writer and artist Joni Murphy considers Abbas Akhavan’s current solo show in Montreal, which activates a variety of themes—war and art, destruction and nation building, human and animal—with a distinctively light touch.
Melding William Morris-style ornamentation with more contemporary concerns, artist Luke Painter detours around dry academicism for something more vibrant and visceral. Mariam Nader reviews his current Toronto show at LE Gallery, finding depth in decoration.
Frieze opened its first New York edition last week with some surprising highlights: sculptures that were free for public viewing outside the big commercial tent. Canadian Art art director Barbara Solowan was there, and brought back this slideshow.
