Tiffany is a New York-based writer and editor whose work has appeared in Surface, Wallpaper*, Acne Paper, Art Review, Paper and Nylon, among others. Most recently, she was part of the Victoria & Albert Museum’s curatorial team that produced the 2011 exhibition, “Postmodernism: Style and Subversion 1970–1990.”
Posts written by Tiffany Jow
Most people know the Turner Prize-winning artist Antony Gormley for his iron sculptures prominently installed through Europe and recently in New York’s Madison Square Park. With a penchant for examining the human form (usually cast from his own body) in relation to natural and urban settings, Gormley’s sculptures establish a direct relationship with the viewer rather than relying on art history or theory. This month, The Phillips Collection in Washington is the first in the country to exhibit a more quiet and personal side of the artist’s work.
At first glance, it seems certain that either a cast of a glacier, a mountain, or a cumulus cloud has invaded Houston’s Rice University Art Gallery. Yet upon closer inspection (which is encouraged), the installation actually consists of mere sheets of plastic suspended from the ceiling with nylon thread and wisps of black hot glue.
While Asia is quickly becoming a hub for contemporary artists, you’d never know it walking into San Francisco’s stoic Asian Art Museum. Known for showcasing priceless objects from its massive collection, the forty-six-year-old institution was wavering on the brink of bankruptcy in 2010. Taking smart steps to broaden its appeal, the museum restructured its debt, got a fancy new look, and is now mounting its first large-scale exhibition devoted to contemporary Asian art.
The opening of the new Barnes Foundation in Philadelphia this Friday is the culmination of one of the most controversial projects in recent art world history. The architects, husband-and-wife team Tod Williams and Billie Tsien, tell us about working on the project amidst the art world’s protest.
Marissa Textor and Ryan Travis Christian are not only long-time friends, but also share a serious love for graphite. Textor’s painstakingly photorealistic graphite drawings depict forces of nature at their most ruthless and unsympathetic. Christian makes work that mix ’30s cartoons with ’80s design, evoking reactions ranging from humor to disgust.
Over the course of his twenty-year career, Marco Breuer has made a name for himself as a camera-less photographer. Less concerned with how photography captures a subject and more with the uncharted territory in the very materiality of photography, the conceptually driven German artist uses coal, sandpaper, heat guns, burning swaths of cotton, electric frying pans, and other unexpected objects to lacerate photographic paper in various ways.
If you’re planning to see the U.S. premiere of Taryn Simon’s A Living Man Declared Dead and Other Chapters I-XVIII, be prepared to exert a level of personal endurance akin to that of the photographer over the four-year development of her mammoth photography project.