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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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When she emerged into the limelight in the mid-1990s, Elizabeth Peyton stood at the forefront, alongside artists such as John Currin, of a wave of artists returning to virtuosic figurative painting.
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Jenny Holzer began her career anonymously pasting offset posters on building walls, garbage-can covers, postal boxes and hoardings around New York City
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Blaring music, a crowded dance floor, countless margaritas and tall women dressed in PVC pants and motorcycle helmets serving canapés out of pizza boxes can only mean one thing: the private-view party at Haunch of Venison for the Mexican-Canadian multimedia artist Rafael Lozano-Hemmer's first commercial show in London.
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As its title makes explicit, the Jewish Museum's revisionist revisiting of the primal scene of Abstract Expressionism revolved around the dialectical poles that defined the movement. Yet rather than the titular titans of midcentury painting, the curators took for those poles the artists’ vociferous champions, the rival critics Clement Greenberg and Harold Rosenberg.
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It is always amusing when the church of culture (located at the corner of fashion and indifference) finds its hidden soul and solemnly gesticulates before one of the high priests of poetry and aesthetic reserve. In an art world obsessed by public profile and snarling cosmopolitanism, the case of Giorgio Morandi makes all but the most devout cynic or ossified realist deeply confused.
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A neon-pink sign that reads “The Mirror” twitches promisingly above the exterior door to the gallery on a rainy, grey London day. “ADMISSION OVER 18 ONLY” warns a steely plaque on the door. The gallery entrance looks foreign; once inside, I realize that the shelter from the rain only generates a deeper depression.
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Eleven films, two shorts, a public performance and two workshops to take place at the Alberta College of Art + Design
Hear a bestselling author lecture about the Group of Seven, and his related book, on March 25
On February 24, art-world glitterati came out to Koerner Hall in Toronto for the highly anticipated Canadian premiere of Jean-Michel Basquiat: The Radiant Child. Sold-out screenings were a hallmark of RAFF 2010.
Walker Art Center curator to visit Toronto from May 26 to 28
Panel, book launch, gallery tours and reception to take place Saturday, May 29
Straight from the Sundance Film Festival, Tamra Davis' moving documentary Jean-Michel Basquiat: The Radiant Child pays homage to her friend, the legendary artist, in his own words
Two top documentaries on Swiss art will be followed by a special Q and A with Beyeler Foundation head Samuel Keller!
Whimsical, fascinating film to premiere at the Reel Artists Film Festival
World, North American and Canadian premieres to be introduced by specially invited artists, authors, curators and directors, including Susan Vogel, Joanne Tod and Barbara Fischer.
This fall, Canadian Art’s young patron group visited the home and studio of Jason McLean, where they toured the artist’s personal collection.
Co-curated by acclaimed artist Robert Gober, “Heat Waves in a Swamp: The Paintings of Charles Burchfield” received high praise during an LA stop last fall. Now, with the show on at Buffalo’s Burchfield Penney Art Center, critic Ashley Johnson talks with Gober about regionalism, realism and reinvention.
In her first solo show at a major North American institution, the Nairobi-born, New York–based artist Wangechi Mutu presents arresting videos and visceral, large-scale collage works. Here, Gabrielle Moser notes the impressive tensions in Mutu’s art.
Light and luminosity have long been top concerns for Montreal artist Marie-Claire Blais. But as Bryne McLaughlin notes, Blais’ latest show of works—created using an auto-industry spray gun—reaches towards a sense of the cosmic as well.
Myfanwy MacLeod is known for forays into modernism’s iconic moments as well as for delving into the vernacular. Here, National Gallery curator Josée Drouin-Brisebois reviews MacLeod’s latest show with an eye to her “high” and “low” influences.
This week, the 28th edition of the Festival International du Film sur l’Art gets underway in Montreal with screenings of 230 films from 23 countries. Here’s Canadian Art’s top FIFA picks for contemporary-art fans.
