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Urs Lüthi’s latest exhibition short-circuits the artist’s practice in an infinite play of references and self-quotations. The show, curated by Luca Massimo Barbero and Elena F
The not-unfounded stereotype of northern-California fog is well suited to Ewan Gibbs’s modestly scaled, labor-intensive graphite drawings, which previously depicted famous buildi
Dorothee Golz is well known for her humorous drawings of women whose social roles she intensifies to the point of absurdity. Take, for instance, Telekinetische Haushaltsbewältigun
“The exhibition includes six to eight new paintings.” A curiously undecided announcement for a gallery press release, but perhaps forgivable in the context of an artistic appro
Before the recent onslaught of curatorial-studies programs, curators were typically educated in art history, literature, or––as in the case of Jens Hoffmann––theater. Drawi
How can one characterize “the calm before the storm” in a place where the storm is always raging? This is the question driving curator Vardit Gross’s selection of Israeli vid
Francois Sagat, the star of Bruce LaBruce’s latest film and a series of monochromatic silk-screened portraits in his exhibition “LA ZOMBIE: The film that would not die,” has
When Queensland Art Gallery’s fifth Asia Pacific Triennial opened in 2005, it could not help but play second fiddle to the vast new Gallery of Modern Art it inaugurated, where it
The stated purpose of “Drawing,” Rachel Whiteread’s latest exhibition, is to illuminate the relationship between her rarely shown two-dimensional works and her sculptures tha
Carl Fudge’s latest series of works takes as its touchstone the prints of Edward Wadsworth, a prominent member of the British Vorticists, who used the hard-edged geometries of ma
Natvar Bhavsar continues to push the boundaries of what is possible with pure color pigment in his solo exhibition “Rang,” which consists of twenty-two paintings created during
A row of vinyl numbers runs clockwise around the gallery from 2 to 3,266, demarcating a conceptual baseline from which Darren Bader’s exhibition “Number[s]” departs. Througho
