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Donald Judd wanted his work totally empty. Which allowed the world to make anything out of it. You know Donald Judd's work even if you don't know you know it. [...]

The text discusses two separate topics: the TV show Bridgerton and the artist Jenny Holzer. In regards to Bridgerton, the article mentions that while the show expands its storylines and deviates from the original books, it fails to fully develop the character of Colin Bridgerton, resulting in an imbalanced and unsatisfying plot. However, the article still finds the show enjoyable due to the engaging side characters and the promise of future seasons. As for Jenny Holzer, the article criticizes her recent exhibition at the Guggenheim, stating that her work lacks the power and profundity of her earlier pieces and comes off as a misuse of space. [Extracted from the article]

JUST TEN DAYS BEFORE the LeoCastelli exhibition in 1984, in aPaula Cooper group show, I sawa single Johns painting thatchanged my life: Usuyuki (1982), a giantphosphorescent, abstract, layered atoll ofcascading siliceous marks of what looklike cave paintings or notations etched ona wall by a prisoner. Someone I know slightly toldme he once rang Johns's Connecticutbuzzer and asked "Is this Jasper Johns'shome? PaintedBronze (1960). gl The first Johns show I ever saw in theflesh was the 1984 Leo Castelli exhibition,where I witnessed an artist being reborn. [Extracted from the article]

For more than two decades, Joe Fig has been creatinghomages to art and artists in his meticulousminiatures of Jackson Pollock or Chuck Close intheir studios or, as he is here, small paintings ofpeople looking at art. See Joe Fig Profound experiences of art. [Extracted from the article]

The article discusses American artist Andy Warhol, calling him a revolutionary artist, and his art work between 1962 to 1964, who was reportedly shunned in the art world. It discusses his eight art works including 1948 Living Room painting of his working-class Pittsburgh home at 3252 Dawson, Pennsylvania, and the 1967-1968 Big Electric Chair, one of his last works which he completed before Monday, June 3, 1968, when he was shot.

The author reflects on his failure as an artist and his work as an art critic. He describes the challenges he faced as an artist, including the lack of recognition for his work. He discusses his views on contemporary art and art history. He also explores the depth of his artistic character and his ability to handle the type of loneliness that comes from art.

Photographs are presented showing artists wearing a mixture of clothes, wherein the artists include multimedia artist Susan Cianciolo, sculptor Elaine Cameron-Weir, and sculptor Kaari Upson.

An interview with actor and artist James Franco is presented. Topics covered include Franco's views with regards to actors going into the art world, his views with regards to education, and the movies he made. Franco also talks about his critics, his experience of hosting the Oscars with actress Anne Hathaway, and his transition from the film word to the art world.

Several photographs of seven artists scheduled to perform and exhibit at the old Whitney building in New York as of late February 2014 are presented, including Kevin Beasley, Emily Sundblad, and Sara Greenberger Rafferty.

77 LAST FALL, the Drawing Center's director,Laura Hoptman, working with her modeststaff, organized the electrifying "ThePencil Is a Key: Drawings by IncarceratedArtists", a show that demonstrated howthis once-indispensable organization wasroaring back to life after years of dormancyand restaking its claim as one ofthe best small nonprofit exhibition spacesin the country. It's a show that understandsthis fundamental idea: Drawing isone of the roots of art, but in its primacyand primitivity, it is also its own way ofseeing and thinking about the world andthe self. [Extracted from the article]

The article recommends artists to observe the changing trends in art and use it to enter the art market. According to the author, galleries became bigger and turned multinational by opening branches in the U.S., Europe and Asia for nearly ten years since the late 1990s. The author notes that the art world saw a decline in 2008 but it has recovered with new artists capable of selling their creations at a high price. Some artists mentioned include Marie Lorenz, Sarah Michelson and Alex Israel.

The article explores the career of British artist Damien Hirst. While studying art at the University of London's Goldsmiths college in England, Hirst organized the "Freeze" exhibition which showcased his works and his other friends' works. He won the Turner Prize in 1995. Now considered one of the wealthiest people in Great Britain, Hirst operates six studios. INSET: A HIRST ASSESSMENT.

Artist Laurie Simmons and our art critic Jerry Saltz (they're old friends) talk about his new book. LAURIE SIMMONS LAURIE SIMMONS: So, Jerry Saltz, what gives you the right to tell anyone how to be an artist? I've spent my whole life looking at art, wanting to be around it-around art and around artists. Telling everybody else that this was the good art, and the other art was not good, and why this was the good art, and even the good art had to meet that criteria-I don't believe in that. [Extracted from the article]

SOMETHING WONDERFUL is happening in the once and future art neighborhood of Tribeca. PHOTO (COLOR): Peter Freeman, Inc. 140 Grand St. Rediscoveries, back-shelf artists, older art stars, and outsiders galore. [Extracted from the article]

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 offers information on landscape artist Joseph Yoakum including born in Missouri in 1890, served during the First World War in France and worked as shoeshine, carpenter and mechanic, and produced around 2,000 drawings featuring segmented islands, erosion and geologic maps.

The article recounts the types of art that emerged in 1993. According to the author, the 1993 Whitney Biennial featured less paintings than in the past and more installations, mostly by unknown artists. He states that, 20 years after, it became clear that artists during that time were not against beauty but complacency. He states that around half of the 82 artists who exhibited at the Biennial in 1993 still have significant careers 20 years on, with several having won the MacArthur award.

The author comments on the failing condition of the art market. According to him, the artists that he once admired now seem to be crumbling under pressure to sell their art. The market becomes the center of commerce and rumors. Collectors now think that by paying a great amount of money would make them a part and history of the artwork itself. He says that there is no new philosophy to help people address the problem of the way the market is affecting the production and presentation of art.

Casey Kaplan, a foundational gallery, has a great series of its artists' first-person accounts of life during the coronavirus, art, and ideas. Like "Hello Brooklyn", by Nathan Carter, a favorite artist of mine from this gallery, who-like so many-is now working in a small space, all alone. [Extracted from the article]

The author comments on the notion that everything in the art world is about the new things. He argues that the claim is accurate since artists are inclined to newness and that change is inherent. He believes that all art is contemporary since every artwork one is seeing is being seen at that particular moment. He claims that old things become new in the eyes.

The author reflects on the impact of the victory of U.S. President-elect Donald Trump in the 2016 elections on artists and the art world in general. Topics discussed include artistic alienation resulting to great and empowered work, the power of oppositional art, concerns about the collapse of the art market, and the effects on popular culture.

The article offers a few ideas on how to be an artist in the age of Instagram.

The article highlights eight young artists who are said to be breaking the barriers between genres including sculptor Joanna Malinowska, painter and sculptor Bjarne Melgaard and installation artist Darren Bader.

The article focuses on the appearance of artists in famous magazines. Painters Francesco Clemente and John Currin are some of the artists in the Wizard of Oz shoot included in the December 2005 issue of "Vogue" magazine. The "ArtReview" annually features the top artists and dealers. The list of the top curators and critics was included in the Best of 2005 issue of "Artforum" in December.

Focuses on the Diary section of the Artforum Web site. Revelation of the social life of artists on the section; Information on the outer and inner lives of artists; Views of painter Richard Aldrich on integrity.

Focuses on the damages brought about by the Richter Resolution, the use of photography in painting, on art. Views of A. J. Wiertz on the relationship of photography and painting; Artists who used photographs in original ways; Difference of a camera lens from the eyes.

The article profiles sculptor Julianne Swartz.

The article features artist Brice Marden's two-gallery show at Matthew Marks in New York City.

The article focuses on the photographic memorial of artist Dash Snow. The photographs of Snow, who died at the age of 27 years due to drug overdose on July 13, 2009, show him having fun with his partner Jade Berreau, his child Secret and other friends. The event will continue to be presented at the Deitch Projects in New York City through August 15, 2009.