Sep 26, 2022 · Directed by Weiss’s partner and frequent collaborator Richard C. Martinez, the production was described by one critic as a “frightening study of paralyzing anxiety,” with the protagonist subjecting his audience to a “cascade of fantasies, reminiscences, meditations, poetry-readings, and miscellaneous schticks.”

Like all Weiss’ work, And That’s How the Rent Gets Paid is true “poor theater”: the set is a sheetlike canvas backdrop behind two platforms, different rooms are suggested by rearrangements of the same chairs, flashlights are used as spotlights. This literal make-believe is played both knowingly—for laughs, as when two coffee cups are ...

Dec 11, 2024 · Jeff Gibson is an artist, an occasional critic, and the managing editor of Artforum. A monograph devoted to his artwork, Jeff Gibson: False Gestalt, was published this year by Griffith University Art Museum, Brisbane, and Perimeter Editions, Melbourne.

Jeff Koons, Inflatable Flower and Bunny (Tall White and Pink Bunny), 1979, vinyl and mirrors, 32 x 25 x 18″. Whether by faking, borrowing, or stealing, artists today commonly produce works of art that employ the vocabulary of industry.

4 days ago · Established in 1962, Artforum delivers informed and inspired criticism and analyses concerning the latest developments in modern and contemporary art and culture, both in print and online.

Jeffrey Weiss on On Kawara (1933–2014) By Jeffrey Weiss. September 3, 2014 11:22 am. New York

By Jeff Gibson. Print Summer 2019. New York. Rodney Graham. 303 Gallery. By Jeff Gibson. Print March 2019 ...

What sets Bader apart from his fellow contextual malcontents, and perhaps what makes his art so likeable and thereby effective, is a consistent throughline of bizarro humor. There is in nearly all instances a generous dollop of intelligent ridiculousness baked into the selection and arrangement of his found objects.

Jan 14, 2023 · There is a figure in Jeff Wall’s light-box photograph, The Old Prison, 1987, that is easy to miss. In reproductions, he is barely visible, lost in the long and protracted expansiveness of the panorama. Viewing the work in person, one sees the man pop out of the picture, punctuating the landscape in his red sweater.

Two facts of LeDray’s art led to this. The first is Modernist and formal: tampering with scale. His painstaking poly housedresses, gestural seersucker robes, and gay-inflected bomber jackets and leather harnesses are “shrunk” to various, sometimes disparate (within one work) sizes.