There are many sides to the work of the German artist Anselm Kiefer. Those lucky enough to visit his studio complex at Barjac in the South of France encounter a staggering array of installations, underground tunnels, and tottering concrete towers resembling some contemporary equivalent to the fortifications of medieval Tuscany. But wisely, the Royal Academy […]
Anselm Kiefer in Conversation before Kiefer’s major retrospective at the Royal Academy in London, with the new Director of the RA, Tim Marlow. This is only the third time that one artist has taken over the whole of the Royal Academy, the other two being David Hockney and Anish Kapoor – we can’t wait to […]
Irving Sandler is an artists’ art historian. In contrast to other prominent midcentury art critics—like the New York Times’s John Canaday, who warned him against fraternizing with artists for fear of impairing his critical distance—Sandler purposefully immersed himself in his subjects’ milieu, first in his days as a young reviewer for Artnews and later as […]
Seventy kilometers west of Doha lies the Brouq Nature Reserve, a sand spit in the Gulf of Bahrain where Qataris like to camp and wax nostalgic about their grandparents’ nomadic Bedouin lifestyle. To get there, you drive an hour along a highway bordered by electrical towers and plastic barriers that prevent blowing sand from drifting […]
Kiefer uses a vast panoply of materials in his art, each of which have intricate symbolic meanings. Studiously parsed, they trigger a kind of spiritual-historical giddiness. There is the straw, for instance, that symbolises the hair of the German prison guard Margarethe in Paul Celan’s poem “Death Fugue.” There are the seven flames that represent […]
This year’s Turner Prize shortlisted artists are hooked on materiality. Not some slick, seamless production-value fetishism geared for maximum visible impact, but almost the exact opposite—a thoughtful, often overly self-conscious, politically inflected take on materials and media, on production and reproduction, in which the frictionless transparency of images is jammed by the clunky inertia of […]
Robert Gober’s retrospective “The Heart Is Not A Metaphor,” which opens on October 4 at the Museum of Modern Art in New York, is a strange and moving survey of domestic unease, seemingly pointless labor, and creeping horror, among other things. You enter the exhibition past a pair of very different works: “X Pipe Playpen,” […]