Picasso: Black and White at the Guggenheim

by Sascha Feldman, November 2012 Picasso: Black and White exposes Pablo Picasso’s calculated, singular and obsessive formal language. Snaking up the rotunda of the Guggenheim in chronological order, the works act as a record of the artist’s exploration and treatment of black, white and gray from 1904 to 1971. Picasso’s elimination of color was applied to… Continue reading Picasso: Black and White at the Guggenheim

Tadaaki Kuwayama at the Museum of Modern Art Hayama

by Michael Klein, November 2012 A large portion of what has been written about minimal art has focused on the sculptors of the era, on the work of Donald Judd, Robert Morris and Carl Andre; however, many of the painters of that period, each with his or her own lengthy resume and extensive gallery and… Continue reading Tadaaki Kuwayama at the Museum of Modern Art Hayama

Emily Squires: Personal Service Announcement

by Kyle McKenzie, November 2012 Philadelphia-based artist, Emily Squires, has invited everyone to submit messages for her current work, Personal Service Announcement (PSA). Messages submitted via her web portal (www.personalserviceannouncement.com) are painted onto signs, which the artist personally takes to Washington D.C. to march them in front of the White House. Her first march was on November… Continue reading Emily Squires: Personal Service Announcement

Wade Guyton OS at the Whitney Museum

by Tom McGlynn, November 2012 Wade Guyton’s mid-career survey fits well within the precincts of the post-1945 American modernist art territory staked out by the Whitney. The work displayed on the museum’s third floor includes painting, sculpture and collage and if one ran through and peripherally scanned the ensemble it might well serve as a… Continue reading Wade Guyton OS at the Whitney Museum

Hermes Knauer, Part III

by Michelle Millar Fisher, October 2012. In the third and final part of Michelle Jubin’s conversation with Hermes Knauer, the Met armorer discusses the “respect and reverence to the object” that must accompany the privilege “to handle and touch history.” To end, he shares “the Aladdin’s lamp moment,” one of the great revelations of his… Continue reading Hermes Knauer, Part III

John M Armleder at the Swiss Institute, New York

by Michael Klein, October 2012 Swiss-born and raised, John M. Armleder has gained international recognition for a decisively personal and wholly remarkable body of work and performances that stretch across all artistic boundaries. In 1969 he founded, along with two other artists, the Ecart group, a collaboration that included a gallery, publishing house and a… Continue reading John M Armleder at the Swiss Institute, New York

EXPO CHICAGO: A New Chapter Unfolds

by Tiffany Funk, October 2012 As detailed by Britt Julious in her essay “Revitalizing Chicago,” published here last month, EXPO CHICAGO’s presence at Navy Pier is only the latest chapter in the embattled history of art fairs in the city. Art Chicago and its move from centrally located Grant Park to the upper floors of… Continue reading EXPO CHICAGO: A New Chapter Unfolds

Community Art in Mid-America

by Kyle McKenzie, October 2012 Dave Loewenstein, an artist based in Lawrence, Kansas, is in the process of finishing up a community mural in Arkadelphia, Arkansas. Loewenstein is working with Mid-America Arts Alliance in Kansas City, Missouri to complete a series of murals in small communities throughout the organization’s service region. In 2010, murals were… Continue reading Community Art in Mid-America

Susan Philipsz at Tanya Bonakdar Gallery, New York

by Danny Kopel, October 2012 Before you even enter Tanya Bonakdar Gallery, Susan Philipsz’s The Distant Sound makes it’s spectral presence felt, or rather heard. Arranged in a tidy row, two speaker cones emit strange, atonal sounds. They are not completely foreign. We make them out to be musical instruments; a lingering note is superseded by another… Continue reading Susan Philipsz at Tanya Bonakdar Gallery, New York