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…
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(via If Yayoi Kusama Designed a Video Game)
Hohokum, a video game where you play a long, thin worm that changes color based on direction, isn’t just an art-ier version of Snakes. Released last month for PS4 and PS Vita, Hohokum is considered an “art video game” by developer HoneySlug, who created it in collaboration with British artist and illustrator Richard Hogg.
The Yayoi Kusama balloon at this year’s Macy’s Thanksgiving day parade
(via James Bishop’s Incommodious Beauty)
I have been waiting to see a large selection of James Bishop’s paintings since the mid-1970s, ever since reading John Ashbery’s appraisal in a secondhand copy of Art News Annual 1966: “It is a shame that Bishop’s paintings, partly owing to his personal aloofness, seem destined for neglect in both New York and Paris, for he is one of the great original American painters of his generation.”
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.
To create translucent sculptures in the colossal proportions he desired, De Wain Valentine needed a new type of plastic. Valentine MasKast Resin, developed with Hastings Plastics in the 1960s, allowed Valentine to create huge resin works like the “Gray Columns” (1975–76), which at 3,500 pounds far exceeded the material’s previous breakage limit of 50 pounds.
The Luminous Plastic of an Underappreciated Light and Space Artist
(via Paintings on Paper, Abstract and Effervescent)
For his solo show at Pace Gallery in 2010, Thomas Nozkowski made the decision to hang his work in pairs, with an oil painting on canvas board or panel alongside a related work on paper, setting up a contrast between density and light, slow and fast, rumination and riff. This comparison came to mind repeatedly while wandering through Paintings on Paper, the effervescent summer exhibition at David Zwirner.
(via In London, Showcases for Self-Taught Artists’ Works)
LONDON — Back in the 1970s, England, the home of such pioneering researchers in the outsider art field as Roger Cardinal and the late Victor Musgrave, played a significant role in calling attention to a subfield which, at that time, was still emerging within the art world’s international terrain.
The turning point for Suzan Frecon happened in 1989, when she saw the exhibition of the Swedish artist and mystic, Hilma af Klint: Secret Pictures at PS1.
