In 1985, A. R. Penck told curator Klaus Ottmann that he didn’t miss East Germany, where he had been born in 1939 and from which he was exiled in 1961. East Germany, Penck said, “disappeared in a black hole”—it was totally behind him. But, of course, his homeland and everything he lost when he left […]
The Museum of Modern Art has wisely advertised its Bruce Conner retrospectivewith an image of Bombhead, a 1989/2002 print in which an army general’s head is replaced with a mushroom cloud. This is a show that promises to blow your mind, and it lives up to that threat. Trippy, disturbing, entertaining, and whimsical all at […]
Why do artists always seem to have the blues? Since time immemorial, blue has held a special place in art history, evoking the loftiest sentiments, the most aristocratic pedigrees, and the profoundest spirituality. As a material, blue pigment has itself been a fetishized commodity, serving as everything from a prized color for Medieval monks to the […]
Many of Wolfgang Tillmans’s photographs begin with the German artist asking himself, “Can I do this?” Last week, at a preview of “PCR,” his new show at David Zwirner, in New York, Tillmans pointed out two new photographs of Sunset Boulevard, in Los Angeles, as examples of that process. One of the images is a […]
In October 2012, Chicago-based artist Theaster Gates bought a 70,000-square-foot building from the City of Chicago. Constructed in 1923, the building was previously Stony Island Trust & Savings Bank, located between Chicago’s Greater Grand Crossing and South Shore neighborhoods. The city was ready to demolish it; Gates couldn’t let it go. The cost for this fixer-upper, […]
Philippe Parreno’s H {N)Y P N(Y} OSIS (pronounced “hypnosis,” just to confuse us all) is bewildering. Staged in the Park Avenue Armory’s massive drill hall, it’s an installation that involves film, sculpture, music, and performance. It takes at least two hours to get through, and feels as slow and frustrating as the traffic on Broadway during […]
When John Baldessari started creating his text paintings in the mid 1960s, only a handful of artists had ever trifled with the idea. There were Roy Lichtenstein‘s paintings from comics, and the Cubists had integrated newspaper clippings in their work, but nobody had been brave enough to exhibit paintings that simply offered text. For one […]
When John Baldessari started creating his text paintings in the mid 1960s, only a handful of artists had ever trifled with the idea. For one of his early text paintings, Baldessari chose a simple phrase that offered a perfect example of the layered meanings his work is often able to express with extremely limited means: “Pure Beauty.”
Since the invention of the printing press, artists have used it for a wide variety of reasons—to experiment with new forms, to exploit its unique strengths as an image-making tool, and to create more work than one person can execute by hand. Equally importantly, artists have made prints so that their artistic visions would be […]