Sometimes when I am out looking at art I ask myself the question “What does it mean to experience this artwork in this moment?” I found myself asking that question at the exhibition of Seymour Rosofsky’s drawings at Corbett vs. Dempsey titled “Xylophone Solo.” Rosofsky died the year I was born, 1981. He was part of the Chicago Imagists’ Monster Roster, a loosely affiliated movement[.....]

From different angles, the view of the successive layers formed by folding a sheaf of handmade paper in Jacki Parry’s (b. 1941) artwork is reminiscent of pages of a book as well as petals of a rose. Displayed on a polished black surface reflecting surrounding artworks and the architecture of the gallery, The Book and the Rose – A New Book (1988) brings to mind[.....]

Polly Morgan is an artist notorious for her taxidermied animal assemblages that skillfully transform a tradition often seen as kitsch or macabre into elegant and highly sought-after creations. Initially training with professional taxidermist George Jamieson, Morgan set out not necessarily to make art, but rather as a way to furnish her own flat. She continued to create, trying preserving the moments between decay and death,[.....]

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley I wasn’t there last night when L.A.’s downtown Art Walk, held monthly, turned into a stand-off with police. Instead, I was on my couch, three miles away, watching it all on CBS News’ U-stream and following updates on twitter. I dozed off when there were hardly any stragglers left on the street,[.....]

Molly Springfield’s show at Thomas Robertello Gallery, titled “The Proto-History of the Internet,” isn’t really about the Internet. In actuality, the conceptual drawings, quizzical icons, and indexical paragraphs on view serve as obscure guide-posts pointing the way to broader dilemmas about the production of knowledge. The show is challenging by design. As viewers, we’re privy to certain facts while others are intentionally withheld. Dry diagrams and[.....]

MoMA PS1 is an art institution reputable for its exhibitions and events that inspire an unparalleled contemporary dialogue in both the United States and internationally. It’s building – a recovered and repurposed public schoolhouse – alone commands a stamp of novelty. The exterior recalls an architectural era that predates the now ubiquitous rolling glass façades with its sumptuous terra cotta bricks and ornate eaves. It’s interior has[.....]

As part of the Glasgow International Festival of Visual Art, approaches to translate the subjective experience into the artistic process were explored in In the Shadow of the Hand and Back to the Things Themselves. Questions were raised on the nuances and distinctions between notions of the subjective, personal and self-indulgent. These borders disintegrate in the exhibition Paul Thek – ‘If you don’t like this[.....]