This article is about a specific art object, one that bears accession number 14.130.12 at the Metropolitan Museum of Art. It has two handles, an opening at the top, and a body that bulges out from the neck and then tapers towards the bottom. It is, therefore, an amphora, but not just any amphora.
Art mavens, hail to you, its Armory Season / And time to write rhymes without rhyme or reason.
Protecting Artists and Galleries in the Wake of Hurricane Sandy: A Checklist for Artist-Gallery ContractsBy Judd Grossman and Michael Straus
As is well known, last years Hurricane Sandy had a devastating impact on the New York region, leaving in its wake a wide range of personal and property loss, with over 70 dead and some $50 billion in economic losses. Included in the latter are extensive, but difficult to value, damaged or destroyed artworks, as well as damaged studio and gallery spaces.
Warhol and Rauschenberg Foundations Urge the Court in the Richard Prince Case to Take a Broad View of Appropriation ArtBy Michael Straus
The case between the artist Patrick Cariou and Richard Prince continues to wend its way through the courts, holding both promise and risk for artists and museums and others who support the arts.
De Wain Valentine has long been a pioneering artist based in Southern California, most known for his evanescent and light-transforming sculptures cast in polyester resin.
I first met Keith Sonnier several years ago on a party ship that was hired to follow a tugboat around Manhattan as it towed the first realization of Robert Smithson’s Floating Island.
“So the basic question is: Why am I interested in things that either have no edges, or have images that appear, distort, and disappear? It perhaps has to do with the ephemeral quality of life.”
Laddie John Dill is an LA based artist who was at the forefront of the Light and Space movement in the late sixties. In 1971 he had his first solo show at Ileana Sonnabends gallery in New York City. Since then Dills work has been shown and celebrated internationally. Early in the fall Michael Straus spoke with Dill on the occasion of the artists exhibition at Malin Gallery. The conversation that follows touches upon Dills early artistic development, his work as an educator, and his careful consideration of how architecture functions in the context of his sculptures.
Jill Mosers second show at Lennon Weinberg represents an expansion and development of the compression and release style that is something of her signature.
Visitors to this years Armory Show in New York were treated to that rarest of opportunities in the current art world: free artworks.
After a full week of helter-skelter sprints through eye-numbing mounds of maze-like fairs blistering not only my feet but also my admittedly limited ability to grasp the myriad aesthetic sensibilities of artists young, old, and dead, I had a Keatsian moment of Pacific pure serenity when silent, within a Chelsea gallery, I stared at Nicolas Trembleys perfectly curated show, Mingei: Are You Here?
Despite Roberta Smiths gushing review of this showfinding the works stately, architectural, fairly erupt[ing] from the gallerys floorsmy own feeling was, Poor John Chamberlain, how did he fall so far?
Katrin Sigurdardottirs current solo exhibition at the Metropolitan Museum of Art is part of the museums continuing series featuring the work of contemporary artists at mid-careerothers in the series include Tara Donovan and Kara Walker.
In her first solo show, N. Dash presents a body of work comprising both wall pieces and photographs, wherein she expands upon her longstanding interest in deconstructing the traditional boundaries separating image from support in painting and sculpture.
If you needed any extra evidence that the Bush Administration lost all sense of decency in its pursuit of information believed to be hidden in the minds of terrorist suspects, then go see Jill Magids chilling installation, A Reasonable Man in a Box, curated by Chrissie Iles in the Whitney Museums first-floor gallery space.
Taking its title from a line from the Neil Young song Dont Let It Bring You Down, this group show at the split-level gallery ROOM EAST is anything but a downer.
Spaced at generous distances along the walls of Franklin Parraschs cleanly-renovated Upper East Side townhouse, nine of Ron Coopers lacquered Plexiglas Vertical Bars, each 8 x 3 5/8 x 3 5/8, stand guard over the mute transmission of light passing through the gallerys lavishly open space.