A re-creation of the auteur’s most personal show, madly grand and deadpan daft, essentializes a strange glamour that has leaked from the art world into culture at large. The most bizarre exhibition in town this summer bears on the prevalence, lately, of “curating” as an honorific for the organizing of practically anything by just about anyone. […]
With ready-made materials and artifacts, Danh Vo’s art recasts the historical events and political ideas that have shaped his world. Danh Vo had just started to gain recognition as a rising young artist when he decided, in 2010, to make a full-scale replica of the Statue of Liberty. He had been offered a one-man show at the Fridericianum, a […]
On April 27th, more than a hundred people gathered in the underground auditorium of a prestigious contemporary-art museum in Mexico City. Those who couldn’t find seats lingered outside, watching a live video feed of what was transpiring within; more than seventy thousand others streamed the proceedings at home. For almost two hours, the audience looked on […]
The rise and fall of Damien Hirst is an oft-told tale of hubris and nemesis. An art-world superstar in the nineteen-nineties and early two-thousands, Hirst made white-hot works—the most infamous of which involved animals immersed in formaldehyde—whose prices only ever went up. He got rich, his galleries got rich, his collectors got rich, everybody was happy. But, then, […]
The innovative, iconoclastic curator Walter Hopps (1932-2005) was one of the most influential figures in mid-to-late-twentieth-century American art. He founded his first gallery in L.A. at the age of twenty-one and, at twenty-four, opened the Ferus Gallery with the artist Ed Kienholz, where they turned the spotlight on a new generation of West Coast artists. […]
I remember when photographs by Louise Lawler, currently the subject of a retrospective at the Museum of Modern Art, first hurt my feelings, some thirty years ago. They pictured paintings by Miró, Pollock, Johns, and Warhol as they appeared in museums, galleries, auction houses, storage spaces, and collectors’ homes. A Miró co-starred with its own reflection in […]
Close-shaven and bald, Parreno wears woven bracelets on his right wrist and has the words “do so” tattooed on his left, a reference to the hypnotherapist Milton Erickson’s theories of self-empowerment. He is shy and serious, with an ironic sense of humor so subtle it is easy to miss, and he follows many of his […]
A conceptual artist devises an ingenious plan for negotiating access to a hidden archive. Last September, in Guadalajara, an American conceptual artist named Jill Magid and a pair of gravediggers convened at the Rotonda de los Jaliscienses Ilustres, a monument where the most celebrated citizens of the state of Jalisco are entombed. With them were two […]
America’s preëminent museum finally embraces contemporary art. Gertrude Stein’s famous remark that “you can be a museum or you can be modern, but you can’t be both” sounds archaic today. Every self-respecting urban center has its museum of modern art, and climate-change-denying business leaders will spend lavishly to get their name on its walls. The […]
Life has been happier for many of us in the art world since we stopped caring about runaway commerce in art, which has seemed—but only seemed—to reduce all measures of aesthetic value to raw price. Sure, the billion-plus dollars shaken loose, since May, at three New York and London auctions of modern and contemporary works—with […]
Our final (so far) column on Chris Burden, by Peter Schjeldahl – you should read it. Burden adventured alone in wilds that aren’t outside civilized life but that seethe within it. He coolly structured convulsive experience. His mastery of form made him a poet, as in a piece that I knew from hearsay and wrote […]
Don’t attend the show seeking easy joys. Few are on offer in the work of the thirteen Americans, three Germans, and one Colombian—nine women and eight men—and those to be found come freighted with rankling self-consciousness or, here and there, a nonchalance that verges on contempt. The ruling insight that Hoptman proposes and the artists […]
Can money buy critical immunity? It certainly seems so, judging by critics’ response to the Whitney Museum’s retrospective devoted to the most expensive living artist,Jeff Koons. In this week’s edition of Critical Reduction, we boil down eight critics’ takes on the shiny extravaganza, which, befitting of such a divisive artist, tend to be either vividly enthusiastic or vehemently dismissive. […]