Magritte's paintings, while traditional in technique (often oil on canvas), are innovative and witty in concept. Doubling, fragmentation, displacement, and irrational juxtapositions are his favored strategies.
Few works of art embody the spirit of contemporary nomadism more than the projected Orbit Rosse videoscapes of Grazi Toderi (2009-2013), composed from nocturnal aerial views of glittering cities around the world.
The experience of being moved to tears by art is not entirely foreign to me. I will tell you, in all honesty, that I can feel a van Gogh in the room. His art exudes an emotional quality, at times a frenzied desperation.
American Modern: Hopper to O'Keeffe, is a show in search of a purpose. Had it been given more careful curatorial consideration the exhibition could have been one of the most important of the year. Disappointingly, it falls short.
Barbara London, Associate Curator in the Department of Media and Performance Art at the Museum of Modern Art spoke to MutualArt on the occasion of the opening of her exhibition, Soundings: A Contemporary Score.
The genre of sound art is still a relatively intimidating one, with even art and art history enthusiasts shying away from the topic, if only for their lack of knowledge. Generally, it is still a young art form, having only been first acknowledged by the Futurists in the early 20th Century.
The art world is swept up by artists who are eager to "make a difference." I like to think of them as drone artists. They swarm the art world with killer-bee tactics to saturate it with their "socially engaged" art, co-opting real and risky political activism to further their careers.
The 100-year anniversary of the 1913 New York Armory Show on February 17th brings new light to the history of modern art in this country and to the creation of MoMA. The exhibition's goal was to bring before the public art "usually neglected by current shows."
The women we look up to in the arts -- from New York City Ballet's Wendy Whelan soaring above the stage at Lincoln Center to action hero Elizabeth Streb scaling a building in London -- have their own inspiring heroines, some famous and others less known.
Shouldn't the most authoritative of our cultural institutions, certainly those renown globally, be so sensitive as to represent the history of international art with the like mindedness of diplomats to mitigating the injuries historically wrought by political and cultural colonizations?