Search

Refik Anadol's unsupervised is in MoMA's lobby through April 15. IN THE LOBBY of the Museum of Modern Art stands a 24-foot-tall screen that emits a continuous flow of psychedelic [...]

* NEW YORK'S architecture critic, Justin Davidson, and art critic, Jerry Saltz, both spent a lot of time considering the expanded Museum of Modern Art. After multiple visits to the [...]

CAN A MUSEUM DEVOTED TO MODERNISM SURVIVE THE DEATH OF THE MOVEMENT? Can it bring that death about? [paragraph] Ever since the beginnings of the Renaissance in the 14th century, [...]

This article provides a list of the best art shows of the year. The shows mentioned include Henry Taylor's retrospective at the Whitney Museum of American Art, Tracey Emin's exhibition at White Cube, Dana Schutz's exhibition at David Zwirner Gallery, Hilary Harkness's paintings at P.P.O.W., Myrlande Constant's tapestries at Fort Gansevoort, Xiyadie's cutouts at The Drawing Center, Miyoko Ito's surreal images at Matthew Marks Gallery, Agata Slowak's small paintings at Fortnight Institute, Matthew Barney's multimedia installation at his studio, and Félix González-Torres's exhibition at David Zwirner. The author provides brief descriptions and praises the artists' work, highlighting their unique styles and themes. [Extracted from the article]

A list of art museums and galleries in New York City is presented including the Brooklyn Museum, Neue Galerie, and the New Museum of Contemporary Art.

Presents an article pondering on the status of the art industry in the U.S. in October 2005. Measures of the industry's success; Re-imagination of the essence of gallery; Existence of provincialism in New York.

Reports on exhibitions presented by New York galleries on May 1, 1993. Show of sculpture and drawings by artist Michael Jenkins at Jay Gorney's downstairs gallery; Artist Anselm Kiefer's show at Marian Goodman gallery; French artist Orlan's exhibition; More.

The article focuses on the creation of abstraction paintings. Topics discussed include the prevalence of brand-name reductivist canvases in galleries, the arrival of Zombie Formalism in a vertical format which is aimed for instant digital distribution and viewing and the defense made by a curator on the work of Oscar Murillo. Also presented are the images of several abstract paintings.

The article reports on the challenges facing artists in mega galleries. It states that the artists are brought in at mid-career and they are poised for a decline. It argues that mega galleries are exploiting the potential of artists who have been carefully nurtured for years by other galleries. Happenings guru Allan Kaprow indicates that mega galleries are doing as many good and bad shows of contemporary are as any gallery.

The article presents the author's views on watching art in galleries which are its natural habitat. The author, however believes that the business of galleries is shrinking. He says many art dealers admit that some of their collectors never set foot in their actual physical spaces. The author fears that the self-knowledge that comes from looking at art is shrinking.

The article looks at various events in the gallery scene in New York City in the fall of 2009 which negate speculations of the imminent demise of the art world. The Bruce High Quality Foundation has organized the event called "Explaining Pictures to a Dead Bull" that includes lectures by artists. Radical vulnerability is said to be showcased in an exhibition by Dasha Shishkin at the Zach Feuer Gallery in Chelsea. The author describes the scene as showing a willingness to fail in new ways.

The article provides the author's insights concerning the increasing number and size of art galleries. He highlights the establishment of Documenta show in 1955 which aims to address a troubling development in the art world. His experience of being at the Whitney and Venice Biennials are also highlighted.

The article looks at two art gallery spaces in New York City. Boiler is located in Williamsburg. The author feels that the standout piece in Boiler is a 2.5-ton ice sculpture made by Tavares Strachan. X Initiative: Phase 1 is located in Chelsea. The author discusses the opportunities made available to galleries when others are forced to close.

A review is offered for the Museum of Modern Art located in New York City.

This article reviews two art exhibitions: one by Joyce Pensato and one by John Miller; both are installed at the Friedrich Petzel Gallery.

The author reflects on the representation of female artists at the Museum of Modern Art (MoMA) in New York City. He states that the lack of women artists speaks to the museum's creative failure as well as gender bias. The author points to the incorporation of women artists, such as Georgia O'Keefe, at the Metropolitan Museum of Art. He also comments on the exhibitions of Deborah Wye, Louise Bourgeois, and Hanne Darboven in various other art departments.

The article reviews the exhibition "Kara Walker: My Complement, My Enemy, My Oppressor, My Love," featuring art by Kara Walker, showing at the Whitney Museum of American Art through February 3, 2007 in New York City. INSET: BACKSTORY.

In this article, the author features Chelsea as the center of art in New York City. The author observes that the district is not only the largest scene, but it is also the largest ever. He cites a number of art galleries found in the city. Moreover, the author indicates several exhibitions held in the district. Some factors which contributed to this status of the district in the art world are stated.

The article comments on the lack of space for new exhibitions at the Museum of Modern Art (MoMA) in New York City. It asserts that there is no enough room in the museum that were built for the exhibition of permanent collection of painting and sculpture. It stresses that the museum should relocate its American Folk Art Museum to a bigger space and use its narrow buildings as offices. It expresses opinion on the commitment of MoMA to postwar art.

Expresses views on the artworks of contemporary painters exhibited at several art galleries in New York in September 2005. Information on the art exhibition "Interstate," curated by Adam McEwen; Description of the art installations of Candice Breitz and Lara Schnitger; Background on the solo show of artist Lucy McKenzie.

Comments on the changes in art events in New York City as of December 2004. Description of New York City's art scene; Appointment of Matthew Higgs as director of White Columns Gallery; Comments by Bellweather owner Becky Smith on changes in art galleries.

The article reports that one of the reasons why people should love New York is that it has galleries that feature outstanding art exhibitions. It says that the art galleries in the city produces art consciousness among its residents. According to the author, proximity among art establishments encourages art professionals to be inclined more on the research and development side of this field.

The author comments on the impact that the failing U.S. economy has had on the fine art industry worldwide. He reflects on the buying atmosphere at the Frieze Art Fair in London, England on October 15, 2008, the same day that the U.S. stock market declined by more than seven hundred points. He predicts that if the economy continues in a downward spiral, between forty and fifty New York City art galleries will close.

This article reviews the art exhibit "After Nature" at the New Museum of Contemporary Art in New York City through September 27, 2008.

The article offers management advice for both New York City's Museum of Modern Art (MOMA), and the Guggenheim Museum since both are acquiring new curators. MOMA promoted Ann Temkin to replace John Elderfield as chief curator, and as such, is in charge of promoting art's modernism philosophy, from Pablo Picasso to Richard Serra. The Guggenheim hired curator Richard Armstrong to make it vibrant again.