bankrupt banks
Bankrupt Banks, at Peter Blum, “continues SUPERFLEX’s exploration of the many facets that have led to the international financial crisis.”
Bankrupt Banks, at Peter Blum, “continues SUPERFLEX’s exploration of the many facets that have led to the international financial crisis.”
Ryan McNamara’s show at Elizabeth Dee consists of pieces created on-site through collaborations with visitors to the gallery.
The Bruce High Quality Brucennial, on view at 159 Bleecker Street, features close to 400 artists and is “Harderer. Betterer. Fasterer. Strongerer” than ever before.
One of my new favorite websites is Art Observed, which “covers contemporary art globally from a New York City perspective.” It doesn’t hurt that their editor is an extraordinary musician.
The Value of Water at The Cathedral Church of Saint John the Divine “features the works of 41 artists reflecting on the world’s most precious resource.”
Wide and Deep, Kay Rosen’s show at Sikkema Jenkins, “enlists the limits of the basic architecture of the space and the possibilities of everyday language.”
Alec Soth’s show at Sean Kelly reflects his “increasing interest in the mounting anger and frustration that some— specifically male— Americans feel with societal constraints and their subsequent desire to remove themselves from civilization.”
The Ungovernables, the New Museum’s 2012 Triennial, features “thirty-four artists, artist groups, and temporary collectives—totaling over fifty participants—born between the mid-1970s and mid-1980s, many of whom have never before exhibited in the US.”
Georg Baselitz, whose career “is a constant process of counterpoint, marked by intense periods of creative activity culminating in a masterpiece or group of master works,” has a show at Gagosian.
Jonathan Lasker’s show at Cheim & Read “groups together twenty seminal paintings, dating from 1977–1985, which attest to the origins of his methodology, and ideas about abstraction, figuration and language.”