London's Royal Academy of Arts claims that its Summer Exhibition is "The largest open contemporary art exhibition in the world." This year's show includes 1,200 works by more than 700 artists. Much to my surprise, I loved it.
The rise of feminism corresponds roughly with the expansion of the artworld to include women's production. This is a history that began predominantly in impelling women's art as an expression of the identification of women apart from men.
Derivative use ranges from the subtle (Cindy Sherman's "stills" echoing Hitchcock's movies) to deliberately heavy-handed (the near re-staging of Sherman's works by Alex Prager). So, what dictates proper use of someone's art?
As art has grown ever more referential and every medium, self-referential -- when there is nary an image that does not lay claim to a legacy of irony that is now generations deep: well: what can possibly come next? Answer: Alex Prager.
Sixteen years ago, Santa Fe had a vision to establish a contemporary art museum with the focus of bringing contemporary art to the city with an accompanying biennial. In 2008, Denver decided to join the biennial craze.