To understand how all the moving parts or art careers fit together, sociologist Hannah Wohl spent countless hours trailing collectors at art fairs, talking to dealers, making studio visits with artists at all professional stages, and analyzing hundreds of art reviews.
A conversation between artists Robin Hill and Elisa D’Arrigo, whose solo show at Elizabeth Harris is on view through July 31.
Scene + Sensoria will be a regularly occurring project of capture, of both the social and aesthetic dimensions of the New York art world, towards an ecological understanding of the scene as a living coral reef; these sensorial guided tours of affect, chance, and embodied presence will be relayed as […]
All three tales in Super Host are witty, moving, and beautifully written, but it’s Emma Easton’s that raises the most provocative questions about the often torturous relationship between an artist and her work
Combining the roles of curator and participating artist, Zak Kitnick, in collaboration with gallery director Meredith Rosen swept an engaging mix of genres into a pair of compact exhibition rooms matching their choices to an installation plan that emphasizes each piece’s distance from the floor relevant to the human body.
Despite Matthew Wong’s relatively banal subject matter – essentially, nature – the way it is handled in the exhibition on view at Cheim and Read elevates the art and makes it enthralling, like secrets gently whispered.
This month we’re recommending all the excellent group shows, especially the ones where old favorites hang next to younger artists who weren’t on our radar.
Physical and psychological effects of natural and man-made disasters are the subject of Alyssa Fanning’s delicate draawings, on view at Platform Project Space in DUMBO.
Sue Havens’ history – her searching and sometimes painful life experiences and her adventurousness in the studio – are distinctly encoded, like a unique double helix of molecular structure, in the complex work she has produced this past year.
Carl D’Alvia’s show at Hesse Flatow, “Sometimes Sculpture Deserves a Break,” is a playful, irony-laden take on the hyper-masculine minimalist sculpture canon.