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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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Join us on Thursday, September 23, and Saturday, September 25, for exciting events that celebrate the visual arts.
Canadian Art’s under-40 patron group launches its second year with a program of extraordinary behind-the-scenes art events.
Congratulations go to winner Pandora Syperek and runners-up Deirdre McAdams and Vency Yun.
The Canadian Art Foundation, with RBC, is pleased to announce the 15 semifinalists in the 12th annual RBC Canadian Painting Competition.
In this video, recorded on Saturday, May 29, 2010, as part of the Canadian Art Gallery Hop in Vancouver, Kitty Scott, director of visual arts at the Banff Centre, and Douglas Fogle, chief curator of the Hammer Museum, joined artists Lisa Anne Auerbach and Althea Thauberger to offer their thoughts on the artist’s role in the world.
Canadian Art is currently seeking an Online Production Manager to join its team. Applications are due September 10, 2010.
Canadian Art magazine is currently seeking an editorial professional to join its team. Applications are due September 15, 2010.
Canadian Art’s under-40 patron group had a fun make-your-own dining experience with one of Toronto’s hottest young artists
Learn about the influences that shaped the PS1 curator’s thinking as he prepared for his exhibition “The Talent Show”
Join us September 23 for a gala benefit and September 25 for a free day of talks at galleries citywide
In recent years, both the Dia and MASS MoCA have mounted tribute exhibitions to late American artist Sol LeWitt. This week, Mercer Union wraps up its own notable homage, which recreates a 1981 wall drawing LeWitt did for the then-fledgling space.
For the past number of years, there's been controversy regarding the future of Halifax’s Khyber Arts Society. Seen by many as a key venue locally and nationally, the Khyber was back in the news this month as a city report recommended a new three-year plan for its space.
Play and strife come together, DIY style, in Todd Tremeer’s Little Wars (Make Me), an interactive project that debuted this month at the Art Gallery of Greater Victoria. In it, viewers can collaborate on a wall-sized battle mural and “bring the war home” via paper-cutout soldiers.
Summer is often marked by contrasts, a dynamic that the Kitchener-Waterloo Art Gallery seems to pick up on in its current pairing of solo shows: John Kissick’s manic, multifaceted paintings and Gwen MacGregor’s calm, geoscience-toned fieldwork.
MKG127 acknowledges Toronto’s above-average summer temperatures with “Heat,” an exhibition that ironically offers some cool respite while displaying works that evoke bubbling tar, existential crises and blistering guitar solos.
