See more posts like this on Tumblr
#David Zwirner #Yayoi Kusama
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…
The Year of Rain and Cronuts
Look! It’s the most New York summer 2013 photo ever. (image by Hrag Vartanian for Hyperallergic)
Th…
(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
Gumby, surfers, penises, Batman and Robin, naked ladies with machine guns, Diamond Dogs-era David Bowie, bats and skulls, Charles Manson, dancers in polka dot dresses: These are a few of the motifs that crop up in Forgetting the Hand, a show of collaborative works by artists Raymond Pettibon and Marcel Dzama at David Zwirner Gallery.
Wolfgang Tillmans’s oeuvre has the rare ability to move across genres, mediums, and styles while still remaining indisputably singular. His exhibition of 175 recent works at David Zwirner, entitled PCR, is no exception. With photos tacked, taped, framed, laid out on tables, and encased behind vitrines, Tillmans’s ever-wandering eye seems enamored with the world. And although his subject matter might border on the banal, the sense of sincerity found in his work manages to transmute each photograph into a reflection of its maker.
One Gallery, Two Very Different Artists
Installation view, “Raymond Pettibon: To Wit” at David Zwirner (photo by the author for…
Like her paintings, Alice Neel’s watercolors and drawings, now showing at David Zwirner, wobble and tilt out of proportion, only more so. Three women seemingly seated next to one another have eyes, hands, and legs of widely varying widths and lengths. The shadows of two men walking along the Bowery seem to rise and lift off the ground. Rather than have the images recede, Neel pushes them all to the forefront of the picture plane. It makes me think of what David Hockney says in reaction to one-point perspective and in defense of ancient Chinese as well as Cubist paintings: that their distorted views of reality impart a sense of closeness.
