Confusing Institutional Acquisitions, Big Paintings of Butts, and Heaps (Literally) of Ceramics
A Roundup of Madrid Art Fairs, including ARCO and its numerous satellite fairs, which close on Sunday, March 10
Highlights, Zeitgeists, and Weirdness (Including Shows You Can Still See)
There is no other “must-see” event on the ever-more-esoteric Aztec calendar of art world “can’t miss” events that fills me with as much eager anticipation and simultaneous existential dread. But the art here makes it all worth it.
Art Fairs, Openings, Performances, and Travel Advice from an Almost-Chilango
This year, I’m sharing my art week event picks—based on expertise gleaned spending the better part of the past decade always searching for some elusive superlative in the capital of extremes.
Picks, Trends, and Observations from Fairs, Galleries, and the Rubell Museum (Including a Theory as to why Everything is Suddenly Periwinkle)
Is this a good year for galleries? That depends on who you ask. At the main fair, booths with challenging or innovative artworks are about as common as faces with intact buccal fat—they're few and far between and take some effort to spot.
The New Museu de l’Art Prohibit in Barcelona is a Refuge for Censored Artworks
The Museu de l’Art Prohibit is, according to its founders, the first of its kind: a museum dedicated to the collection, preservation, and display of art that has been censored (in one way or another) elsewhere. Its contents are equal-opportunity offenders—having already outraged every religion.
In "Pope of Trash" Cinema's Enfant Terrible Gets Cannonically Crowned by the Academy Museum of Motion Pictures, Los Angeles
Actress (on strike) and writer (no longer on strike!) Liz Eldridge on why John Waters' mainstream acceptance restores her faith in filmmaking.
Highlights from the Fair, and Why We Should be Taking Notes
I so wish more art spaces from the Baltimore/DC region participated in smart, well-curated smaller fairs like this—putting local artists in dialogue with international peers and in front of international audiences and kingmakers.
A Homecoming to Puerto Rico Offers the Chance to Check-in on the Island's Cultural Institutions
Visits to two museums in San Juan: the Museo de Arte de Puerto Rico and the Museo de Arte Contemporáneo de Puerto Rico
Frieze's Move to Hudson Yards isn't Just a Faux Pas—It's Lending Cultural Cachet to the Right Wing
Who is behind this genius work of boundary-busting relational aesthetics? That would be Related Companies, a real estate behemoth that controls a staggering $60 billion worth of property and was founded by former tax attorney Stephen Ross, a friend and fundraiser to Donald Trump.
An Uneven Edition Demonstrates New Models of Financial Sustainability, but also the Necessity of Curators
Never have I ever felt more like Thora Birch’s character in "Ghost World" rolling her eyes in mandatory summer school art class than in gallery number 3...
Collaboration Between Institutional, DIY, Public, and Private Art Entities Makes for a Great Art Week
Madrid's flagship fair ARCO—as well as its satellites JUSTMAD, Art Madrid, UVNT, and Hybrid—seem to have firmly cemented their place on the circuit, even if competitors in North America sometimes get more attention.
This Iteration of the Genre-Bending Berlin Institution Considers Scale with Alternating Humor, Gravity, and Weirdness
The artworks on display might all be defined as technologically speculative but ran a range from past and present critiques to future possibilities (the term speculative comes up all too regularly in such spheres). Techno-utopianisms were not the theme here...
In Washington, DC, an ambitious exhibition considers British photography from the turbulent '70s and '80s
A concise but impactful exhibition of photographs from the 1970s and 1980s at the National Gallery of Art, presents a boisterous and iconoclastic photographic culture
ABMB Just Started the Countdown to its 21st Birthday, but the Champagne Has Long Been (Over)flowing
Last week, Art Basel Miami Beach turned twenty. It’s hard to overstate how extremely the once-unlikely Floridian spinoff of the highbrow Swiss art fair has transformed both the global art market and its host city.
Step right up and beat your hope to death at the world's most depressing art show!
Curated by Kader Attia and titled Still Here!, this year’s edition mulls the lasting impacts of colonialism, modernity, globalization, and ecological exploitation and collapse—as well as dozens of tangentially related ills.
“We couldn’t be more thrilled to partner with Pussy Riot this year.”
"WHEN EVERYTHING IS POLITICAL, NOTHING IS / WHEN NOTHING IS POLITICAL, EVERYTHING IS"
Campy horror aesthetics, charmingly faux-naive techniques, abstract allusions to the body, environmental concerns and more
With 82 galleries representing 37 countries, the surprisingly compact fair is dense with content.
“We organized this Biennial to reflect these precarious and improvised times.”
Curated by David Breslin and Adrienne Edwards, this show took shape in a period marked by a relentless virus, upsetting political news, horrifying police brutality, and a grinding land war.
