A group of seemingly isolated men in a lounge bar begin to sing along to Roy Orbison’s “Crying.”
French journalist Jean Abbiateci has sorted through the 270 most expensive artworks sold at auction since 2008, and the resulting interactive infographic on visualizing.org reveals a lot about the art market, not all of it pretty.
Bianca Casady is best known as one half of the eccentric and beloved musical duo CocoRosie, but she was a visual artist long before she recorded the first CocoRosie album in a bathroom in Montmarte.
This summer, painter Sam Messer, associate dean of the Yale School of Art, is curating a group show that masquerades as a retrospective of work by the fictional artist S, whose biography was written for the show by author Jonathan Safran Foer.
Woven intermittently amongst interviews and archival film footage, Lynn Hershman Leeson’s documentary !Women Art Revolution offers viewers slides of artwork by female artists rarely, if ever, seen in the classroom. The images create a type of impromptu art history class on the feminist art movement, and by connecting it with the trajectory of American history from the 1960s onward, she astutely places the movement in historical context. Simply as something to watch, WAR is enjoyable: interviews with important figures such as Judy Chicago, Marcia Tucker, and Lowery Stokes Sims are witty, insightful, and replete with anecdotes. Yet as an analysis of feminist art, Hershman Leeson posits an unsettling conclusion: while the efforts of feminist artists were not all for naught, much of their work’s significance has been glossed over throughout the decades, largely due to the same hegemonic structures they fought against.
Dara Birnbaum has made a career of deconstructing our pop art imagination. It’s no wonder, then, that Ms. Birnbaum, a pioneer of the feminist art movement, would turn to YouTube to form her newest feminist critique, Arabesque (2011), the iconic video artist’s first exhibition in a decade.
The New York art world in the ‘60s was very small and intense, and you could approach artists that you knew were going to be significant. I could go talk to John Cage, be the secretary for Edgard Varèse, go to Philip Guston’s studio and hang around. We could go to the openings of older artists, and it was easy, convivial, a tremendous source of information.