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“Is this man the next Warhol?” screamed the headline on the cover of the German art magazine Monopol. It was accompanied by a photograph of the New York–based Chinese-Canadian artist Terence Koh.
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With just about every city in the world building a new art museum, or enlarging or renovating an old one, the question remains: did Los Angeles need another temple of contemporary art?
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Peter Doig makes return trips in his work and life from Scotland to Trinidad, to Canada, to England and back again—and again.
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A dense and complex floor-to-ceiling installation of photographs, wall labels and fibreboard constructions that resemble Donald Judd boxes, the Belgian artist Jan De Cock’s American debut exhibition spilled out from a large gallery at MOMA into the adjacent entryway and corridor.
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Filled with spectacular works from Russia’s top public museums, “From Russia: French and Russian Master Paintings 1870–1925 from Moscow and St. Petersburg” is an exhibition that’s hard not to love.
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Never before having visited the Fondation Cartier, I had diamond-encrusted visions of the Jean Nouvel–designed building.
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A few years ago I had the pleasure of visiting Lawrence Weiner in his studio in New York.
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A somewhat pathetic confession: every time I see the formally elegant and meticulously crafted work of the American sculptor Martin Puryear (and it is pretty hard not to run into one of his pieces in just about every major American museum), I get this thoroughly neurotic and completely unexplainable free-association flashback to a guy from high school.
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Sitting on a bench in a children’s park outside the Frieze Art Fair, taking
a well-deserved break, I am suddenly confused.
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Rodney Graham, who is well known for his portrayals
of fictional characters in his films and photographs,
has starred in those works as a shipwrecked
pirate, a lonesome cowboy and even Cary
Grant.
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Recent art’s steady assimilation of low production values and
DIY culture has been accompanied by the appearance of a
variety of institutions that are committed to the logical extension
of this aesthetic: Outsider art.
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Karin Mamma Andersson’s recent exhibition
at the Camden Arts Centre is a
slimmed-down version of a show that originated
at the Moderna Museet in Stockholm.
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The distance between Richard Prince’s 1992 survey at the Whitney Museum of
American Art and “Spiritual America,” his recent retrospective at the Guggenheim,
can be measured not only in terms of the artist’s canonization by a
ravenous market, but also by the mainstreaming of the interests and operations
of his art.
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When Tate Liverpool mounted a large solo exhibition by Mark Wallinger several years ago, the gallery’s director took note of the artist’s interest in the “politics of representation and the representation of politics.”
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In the labyrinthine lower level of the Vienna Secession, the Lithuanian artist Deimantas Narkevičius has mounted a series of recent video works that do well in accommodating themselves to their surroundings.
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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.
