MoMA’s retrospective Alighiero Boetti: Game Plan is the largest exhibit of the artist’s work outside of Italy to date. An early member of the anti-establishment art movement Arte Povera, Boetti used preexisting objects and symbols to create playful conceptual art.
If you see nothing, say something.
Sky blue spikes, a sound system, water cannons, giant fans, and pollution-fighting skin: Wendy pulls out all the stops to set the stage for the ultimate summer party spot.
This year, The LUMEN International Video and Performance Festival received an enormous gift— 150,000 tons of salt.
MOCA’s current exhibition, Ends of the Earth: Land Art to 1974, is the first attempt by a museum to thematically organize and display Land Art, a movement closely associated with Robert Smithson in which the physical landscape becomes the artistic medium.
Dirt, dust, and sand form the perfect antithesis to the “white box” aesthetic. They illustrate the passage of time, the existence of history, and the absence of light. They offer proof of violence and destruction, collect marks, hide things, form deceptions. Yet they are powerless against wind, water, detergent, and our cultural conception of their negligible value. The Museum of Arts and Design continues to examine non-traditional materials.
British artist Gareth James arrived in New York in 1997 as a student at the Whitney’s Independent Study Program, intending to return to London nine months later. Instead, he was offered an exhibition at Miami’s Wolfsonian and a job with the director of the Whitney program. Jon Kessler then brought James to Columbia University, where in 2005 the young artist was offered the chair of Visual Arts. David Muenzer’s conversation with the artist ranges across James’ interest in low-level criminality, the expressive possibilities of fried wool, and the monthly journal devoted to drawing James founded in 2006 with Sam Lewitt and Cheyney Thompson, which has yet to release a single issue.