“A Publisher of Artist’s Books That Isn’t Bound by Convention,” Hyperallergic
“Mastery and Missteps in Matisse’s Books,” Hyperallergic
The Morgan Library & Museum’s current exhibition Graphic Passion: Matisse and the Book Arts, of Henri Matisse’s illustrated books donated to the museum by collectors Michael and Frances Baylson, demonstrates the artist’s well-deserved reputation of having produced some of the most prominent livres d’artistes while also exploring his missteps and failures in book production, emphasizing his devotion to process and revision.
“Plastic Purses and Comic-Book Catalogues: American Postwar Art at the Margins,” Hyperallergic
Life-size knit body suits mingle with painted metal lawn chairs, plastic purses, and rows of zines and ephemera in the summer show at Matthew Marks Gallery, What Nerve!, which gathers the work of four outlying postwar art groups.
“Daily Life as Art in Gilbert & George’s Early Works,” Hyperallergic
“An Intimate Reading of Jean-Michel Basquiat’s Poetry,” Hyperallergic
The Notebooks, which looks and feels like a cheap composition notebook — Basquiat’s medium of choice for writing — presents actual-size reproductions of the pages of his eight notebooks, with no interruptions or annotations, save the brief forward by the editor and their owner, the art publisher Larry Warsh.
“In Readers’ Hands, Archives Find New Contexts,” Hyperallergic
“Explosive Watercolors and Collages, Subtly Contained,” Hyperallergic
Looking at Marcia Kure’s watercolors and collages, the word that comes to mind is “torque”: “the twisting or rotary force in a piece of mechanism (as a measurable quantity); the moment of a system of forces producing rotation.”
“A Comic Book that Reads Like Sheet Music,” Hyperallergic
Richard Kraft’s Here Comes Kitty: A Comic Opera explodes off the page. Kraft, a multidisciplinary artist, pastes images of Hindu gods next to exercise diagrams and drawings of monkeys and elephants into bars and restaurants — all superimposed on a pre-existing 1960s Cold War–era comic.
“Turning Manifestos into Music,” Hyperallergic
The premiere live performance of conceptual artist Charles Gaines’s “Manifestos 2” (2013) at the Museum of Modern Art (MoMA) on September 27 was nothing short of synesthetic.
“Christopher Williams Shakes Up the Exhibition Catalogue,” Hyperallergic
“Nick Cave on the Artist’s Responsibility,” Hyperallergic
“I began thinking more about myself as an artist with a civic responsibility,” said artist Nick Cave to Mass MoCA curator Denise Markonish during a conversation last Friday evening at Jack Shainman Gallery.
“On Carl Andre and the Question of History,” Hyperallergic
Ironically, Leslie Hewitt’s Monday night lecture on Carl Andre, which examined ways of escaping the hegemony of art and political history, was protested by those who opposed Carl Andre’s place within that history.
“Fred Tomaselli Talks Pot, Gardening, and the New York Times,” Hyperallergic
“Wasn’t pot your gateway drug to gardening?” Lawrence Weschler asked Fred Tomaselli teasingly during their recent conversation for the New York Public Library’s Art and Literature Series.