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From the category archives:

Reviews

Report from the New Aesthetic: The Movement Rolls On, Inward

by Whitney Kimball on November 13, 2012
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Last month, I attended the New Museum panel “Stories from the New Aesthetic.” I thought we’d get to hear about how the movement has evolved since it incited a widespread art, tech, and critical dialogue; I was wrong.

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Sexxx on the Brain: Robert Brownjohn at MoMA

by Alix Finkelstein on October 26, 2012
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While designer Robert Brownjohn’s iconic Bond film titles may have aroused audiences in the early 60s, his current show at MoMA hardly raises an eyebrow. In part, that has to do with our culture, which has so fully embraced Brownjohn’s salacious mindset that we’re nearly immune to nudity in commercial art. But it also has to do with the museum’s inability to convey the impact of the designer’s titillating imagery on a world dominated by post-war conservatism—work which made him a badass in his own time and a cult favorite among designers today.

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All Talk and Some Summit: Dispatch from Last Friday With Creative Time

by Whitney Kimball on October 17, 2012
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TED was the favored talk style of the Friday afternoon portion of the Creative Time Summit. In 8 minutes or less, speakers delivered inspirational, arms-length examples ending with a suggestion or a rhetorical question. But past that and the fact that too much time was spent on Nato’s pants, a few speakers offered concrete ideas.

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“Primary Sources” at The Studio Museum in Harlem

by Alex Fialho on October 17, 2012
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It’s hard to ignore the glow from The Studio Museum in Harlem’s Artist-In-Residence alumni when visiting the museum. David Hammons, Kerry James Marshall and Julie Mehretu are just a few of the museum’s now famed past residents, so it’s easy to start thinking about who might be the next star. Of all three artists-in-residence—Njideka Akunliyi, Xaviera Simmons, and Meleko Mokgosi—Njideka Akunliyi gets my pick for who might eventually join the ranks of Hammons and Mehretu.

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Bernadette Corporation: 2000 Wasted Years at Artists Space

by Corinna Kirsch on October 12, 2012
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Bernadette Corporation: 2000 Wasted Years looks more like a fashion showroom than an art exhibition. For the past eighteen years, the Bernadette Corporation has taken a rebellious stance toward art: they’ve designed clothes, published magazines, customized terry cloth towels, altering just about anything that’s not a painting on canvas. What makes me doubt BC’s project, comes from how they don’t give a damn; anything goes with their corporate ethos because the world as we know it is a shithole.

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The Real World: Becoming One With David Levine’s “Habit”

by Whitney Kimball on October 3, 2012
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Two rotating casts perform the play, roughly 90 minutes, on a loop, for eight hours straight, ten days in a row. As I peeked through the bathroom window at an ankle on a bed, actor Matthew Stadelmann posed the question I was already wondering: “What does it mean that we’re doing it, even though we’re not really that into it?”

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The NY Art Book Fair Talks: Petra Cortright and Lucy Lippard

by Corinna Kirsch on October 2, 2012
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What did we learn from attending the NY Art Book Fair talks? For one, 26-year-old digital media artist Petra Cortright hates paper and 75-year-old art historian Lucy Lippard loves it.

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We Went to Copenhagen

by Corinna Kirsch and Whitney Kimball on September 20, 2012
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With a major art festival and the city’s largest art fair, September is the month to be in Copenhagen. We saw a ton of art and we noticed that at least half of the artists were American or non-Danes. Are there not that many Danish artists? Or do Danish collectors just need to get with the program? That being said, we brought back a surprising number of highlights and our travels hit on that one truism of gallery-going: you can find good and bad art no matter where you go.

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Susan Philipsz’s The Distant Sound: Really Moving, If You’re An Austrian Composer

by Leighann Morris on September 17, 2012
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In 2010, Susan Philipsz recorded herself singing three different versions of the 16th century Scottish lament Lowlands Away, and installed speakers beneath three bridges over the River Clyde in her native Glasgow to play them. It made Philipsz the first Turner Prize nominee to use sound installation, and accordingly, Lowlands’ placement in the Turner prize exhibition was followed by an onslaught of negative criticism. The Independent’s Michael Glover called Lowlands “hype-cum hogwash,” and The Telegraph’s Richard Dorment condemned those who enjoyed the piece to “the ninth circle of art hell.”

We think those critics are wrong. The reason why they got it wrong, though, also cripples Phillipsz’s current exhibition The Distant Sound, at Tanya Bonakdar.

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