“Disponible: A Kind of Mexican Show” is a project generated from an accelerated research in Mexico and a long-term dialogue between the curators. It presents a few individuals’ visions from the Mexican art scene, particularly those who are not directly related to the linage of the over-exposed, post- conceptual “magical realism,” which is highly […]

  Benoit Laffiché’s Déplier (‘Unfolding’) engages in the poetry of moving, branching out, the ambiguous and the fragile. Benoit Laffiché’s video work tirelessly interrogates the issue of apprehending territories and population movements in the post-global age. “Benoit Laffiché’s video work tirelessly interrogates the issue of apprehending territories and population movements in the post-global age.”   […]

The photographic moment is surely one of both reduction and addition. Reduction in the way existence is cropped, depth is replaced by the illusion of such, and so on. Addition, in the continual replication of the moment, interpretation, and levels of seeing. For “Contact” at the Charest-Weinberg Gallery, Sheree Hovsepian presents a tightly edited body […]

Can a “luminous interval” represent the decline and fragmentation of modern man? At the Guggenheim Museum Bilbao the question remains open. For the first time, the D. Daskalopoulos Collection is presented to the public, one of the largest and most comprehensive private collections of contemporary art in the world, housed in the geometry of rupture […]

  The Soft Machine, the 1961 novel by William S. Burroughs from which the exhibit draws its title, depicts a dark world odyssey ravaged by drugs, sex, poverty, hatred, and authoritarian mind-control. Fifty years later, the curators at the Pace Gallery are drawing on its title and themes for “Soft Machines,” a group show featuring […]

Maria Walker: Would you describe your studio space for us? Cordy Ryman: My studio is in Sunset Park, Brooklyn. It’s a huge, one-story garage building with a few dividing walls, 16-foot ceilings, no natural light, good artificial lighting. I’ve been there about five years. My block is all industrial and commercial. I’m flanked by a […]

  We all know what Rosie the Riveter looked like, and what she stood for. Ford-era production line labor—and the rise of powerful unions—left us indelible portraits of work in mid 20th century America. Before that, Dickens created searing portraits of labor in the proto-industrial era, as Millet and his followers recorded a vivid picture […]

  MINUS SPACE is pleased to present Pointing a Telescope at the Sun, a group exhibition highlighting abstract color painting by five highly-influential NYC-based artists: Gabriele Evertz, Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld. The exhibition is dedicated to the memory of Doug Ohlson (1936-2010) who passed away last year at age 73. […]

The Textile Arts Center in Carroll Gardens did not bill the inaugural “Artists in Residence” exhibition as a feminist project. But here, women’s labor of the millennia, work produced in and for the sphere of the home, to cover themselves, to envelop others, was assembled under the heading “art” rather than the diminutive “craft.” Pieces […]

1301PE is pleased to announce its second exhibition with internationally renowned artist Uta Barth. Since the early 1990ʼs, Barth has made visual perception the primary content of her work. The Ground and Field series brought her to international attention and this attention has continued as each of the following projects presented observations about human perception […]