Katia Canton

  • Jac Leirner

    Jac Leirner’s new series, Nice to Meet You, 1997, formed entirely of business cards, is her most incisive and delicate work to date. The art of this thirty-five-year-old Brazilian typically involves the obsessive repetition of prosaic objects. Its effectiveness generally depends on the degree to which it dignifies and transforms mundane materials by liberating them from their links to a specific function. Nice to Meet You, for example, attributes a morphological significance to the business cards that Leirner gathers in a systematic, even ritualistic manner. After collecting them, she often

  • New York, Chicago, San Francisco, Venice, Turin, Paris, Cologne, Berlin, Stockholm, Liverpool, London, Brisbane

    This fall, Dada finally gets its due as a stateside movement. Curated by Dada scholar Francis M. Naumann with staffer Beth Venn, the WHITNEY’s show will include Duchamp’s Bride Stripped Bare. . . , as well as more than 200 objects by American and European artists associated with the movement on this side of the Atlantic. Along with the usual suspects—Francis Picabia, Man Ray, and, lately, Florine Stettheimer—you’ll also get to see works like Baroness Elsa von Freytag-Loringhoven’s Portrait of Marcel Duchamp (feathers and a champagne glass) and a partial