Mike Kelley, Epic Poet of Abjection
Museum of Contemporary Art, Los Angeles March 31 to July 28, 2014
Julia Dault’s Beautiful, Brainy Art Grows Well in Brooklyn
A feature from the Fall 2012 issue of Canadian Art
Janet Cardiff and George Bures Miller: Black Birds
Park Avenue Armory, New York Aug 3 to Sep 9 2012
David Altmejd: In the Belly of the Beast
The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.
Paul P.: Gilded Age
Paul P. grew up in the 1974-founded suburb of Mississauga, but his sensitive paintings—created from a now Paris-based studio—hearken back to the days of Sargent and Proust. Find out more in this summer-issue feature by Joseph R. Wolin.
Allan Kaprow
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.
Piero Manzoni
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.
Elizabeth Peyton
When she emerged into the limelight in the mid-1990s, Elizabeth Peyton stood at the forefront, alongside artists such as John Currin, of a wave of artists returning to virtuosic figurative painting.
Lucy Hogg: Mastering the Old Masters
For her third show in her adopted city of Washington, the former Vancouver artist Lucy Hogg has lined two parallel walls in a narrow gallery with oval canvases painted in odd monochromes—muted plums and raspberries, olive-lime, bruised grey, brick, teal, tamped scarlet and dulled turquoise.
Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976
As its title makes explicit, the Jewish Museum's revisionist revisiting of the primal scene of Abstract Expressionism revolved around the dialectical poles that defined the movement. Yet rather than the titular titans of midcentury painting, the curators took for those poles the artists’ vociferous champions, the rival critics Clement Greenberg and Harold Rosenberg.
The Haunting
Marcel Dzama brings history and politics into his three-dimensional fantasy worlds in a major New York show