Because I am a writer, this confession may not shock you, but here it is anyway: I am extremely picky about pens. I silently judge people when they use dull, crappy ones, and I admire those who clearly take pride in their writing utensils. I am in fact so picky about pens that I only buy a certain kind, in packs from a store that I otherwise never visit, for more money than I tell myself one should logically spend on pens.
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#andrew endlin gallery #david zwirner gallery #driscoll babcock galleries #jack shainman gallery #leslie tonkonow gallery #PPOW Gallery #zieher smith & horton
The works in Rachel Rossin’s show at Zieher Smith & Horton unfold sequentially, like the illustrations of an idea that is carefully trying to prove itself. The exhibition’s theme is loss, or, per the show’s title, Lossy, a term describing the loss of visual detail that results from data compression.
Tripping Through Digital Landscapes in Virtual Reality and on Canvas
KINDERHOOK, NY — The School, Jack Shainman’s splendid gallery in Kinderhook, NY, is about to blow its own roof off. The power of the El Anatsui retrospective there is palpable and deeply moving.
(via Nick Cave on the Artist’s Responsibility)
“I began thinking more about myself as an artist with a civic responsibility,” said artist Nick Cave to Mass MoCA curator Denise Markonish during a conversation last Friday evening at Jack Shainman Gallery. Realizing that he was bored with his past work, he decided he needed to find another means of challenging himself. “I didn’t want to hide behind the Soundsuits anymore.”
The Yayoi Kusama Experience at David Zwirner in Emoji
Yayoi Kusama’s I Who Have Arrived In Heaven continues at David Zwirner Gallery (525 West 19th…
One might be led to think, from the title of Hunter Reynold’s current exhibition at PPOW Gallery, Survival AIDS Medication Reminder, that the show deals with issues of health and physical condition, or perhaps reminiscence. In some ways it does, but its compelling content and strident egotism completely overwhelm the conceit that ostensibly occasions the exhibition. To glimpse this conceit, it’s best to begin at the back of the gallery with a small wall text by the entrance to a darkened video screening room.
Strangers in the Night: Laurel Nakadate Meets Her Relatives
Laurel Nakadate, “Akron, Ohio #1″ (2013) (all images © Laurel Nakadate, courtesy Leslie Tonkonow,…
‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals. Andrew Edlin Gallery, as a final hurrah at its Tenth Avenue space before relocating to the Bowery, has mounted Anthems for the Mother Earth Goddess, a show of seven site-specific murals and installations reflecting on environmental and political issues.
hen artist Titus Kaphar began searching for his father’s prison records in 2011, he found the mugshots of 99 other black, incarcerated men who shared his dad’s first and last name. “I simply wanted to know where he was,” Kaphar told Hyperallergic, explaining that he’d left his father’s home during his first year of high school and was struggling to deal with their conflicted relationship.
The idea is so ingenious, it almost seems obvious: take advertisements and remove the text that makes them so, leaving only a string of images behind. This was the process that Hank Willis Thomas undertook for Unbranded: Reflections in Black by Corporate America 1968-2008, a series of appropriated ads that covers the period between the assassination of Martin Luther King, Jr., and the election of Barack Obama, with one ad representing each year. Shown at the Brooklyn Museum in 2010–11, Thomas’s images laid bare looked alternately bizarre, sinister, and deeply surreal.
The (Un)Changing Portrayal of White Women in 100 Years of Advertisements
