Installation

Doug Wheeler at David Zwirner Gallery

A viewer in Wheeler's "rotational horizon work"

Not long after disassembling Yayoi Kusama’s infinity rooms, which had New Yorkers queuing up in polar conditions from the beginning to the end of their six-week run, David Zwirner Gallery now offers another buzzworthy, limited-capacity affair: a “rotational horizon work” by light-and-space artist Doug Wheeler. The wise will consider making a reservation in advance this time. Housed in the commodious ground floor of the gallery’s 20th Street[.....]

Art(ists) on the Verge at the Soap Factory

Katie Hargrave, In Poor Tastes Good, 2014; mixed media, dimensions variable. Courtesy The Soap Factory. Photo by Lillian Egner.

Now through April, the sprawling, rough-and-tumble brick spaces of Minneapolis’ Soap Factory are filled with installation projects by five artists—the Art(ists) on the Verge, as it were. It is not quite fair to consider Art(ists) on the Verge as a single exhibition, as there is no curatorial or artistic conceit to cement the various projects into a cohesive entity. The works on view are the[.....]

Queer Threads: Crafting Identity and Community at the Leslie Lohman Museum of Gay and Lesbian Art

Sheila Pepe. Your Granny’s not Square, 2008; Crocheted shoelaces and yarn. 72 x 144 x 48 inches. Courtesy of the artist.

Queer Threads: Crafting Identity and Community, currently on view at the Leslie Lohman Museum of Gay and Lesbian Art, confirms how productive a dialogue between queer theory and critical craft theory can be. The twenty-four participating artists in the exhibition interpret and complicate the rich histories of these theoretical frameworks in a variety of ways. The resulting conversation illuminates certain commonalities between the two fields,[.....]

Feeling Is Mutual at Chicago Artists Coalition

Latham Zearfoss, Court of Apology #1 (COPA #1), 2014. Plexiglas, wood, subwoofer, audio. Courtesy of Chicago Artists Coalition.

Steven L. Bridges’ catalog essay for Feeling Is Mutual at Chicago Artists Coalition invokes a quote by Marcel Duchamp as a mission statement for this exhibition of performance and relational art works. Duchamp’s quote reads, “The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the[.....]

David Altmejd: Juices at Andrea Rosen Gallery

David Altmejd. The Flux and the Puddle, 2014; Plexiglas, quartz, polystyrene, expandable foam, epoxy clay, epoxy gel, resin, synthetic hair, clothing, leather shoes, thread, mirror, plaster, acrylic paint, latex paint, metal wire, glass eyes, sequin, ceramic, synthetic flowers, synthetic branches, glue, gold, feathers, steel, coconuts, aqua resin, burlap, lighting system including fluorescent lights, Sharpie ink, wood; 129 x 252 x 281 inches. Courtesy of the artist and Andrea Rosen Gallery.

In the main space of Andrea Rosen Gallery, David Altmejd’s gridded plastic network The Flux and the Puddle forms a labyrinthine rectangle—a wrinkle in time. In an homage to science and metaphysics, behind a network of clear vitrines, a series of human-animal hybrids construct themselves out of resin, epoxy, and clay, morphing in and out of candied fruits as harbingers of a kind of alternate evolutionary[.....]

From the Archives – Kevin Cooley: Skyward at the Boiler

Skyward Installation

The weather has been unusually brutal all across the U.S. this winter, from the unending snow and ice in most of the country to the ongoing drought in Northern California. With even more snow predicted for the Northeast this weekend, we thought we’d take our readers back to revisit Kevin Cooley‘s Skyward project, a bright, sunlit space reminding us of warmer times ahead. This article was[.....]

Cai Guo-Qiang: Falling Back to Earth at the Queensland Gallery of Modern Art

Cai Guo-Qiang, Heritage, 2013. 99 life-sized replicas of animals, water, sand, drip mechanism; installed dimensions variable
 commissioned for the exhibition ‘Falling Back to Earth’, 2013; proposed for the Queensland Art Gallery collection with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation.

Ninety-nine animals stand in a circle, heads bent, drinking from a clear pool of impossibly blue water. Predators and prey are lined up in peaceful harmony: lions and tigers together with giraffes, zebras, and antelope; a big black bear with small furry creatures. What utopian vision is this? In Cai Guo-Qiang′s allegorical installation for the Queensland Gallery of Modern Art, he has abandoned his usual[.....]