Whether you call “What Is the Object?” an exhibit or a collection, the display at Bard Graduate Center is utterly dependent on the good faith of its visitors.
This week, the editors recall Coosje van Bruggen’s “Entrance, Entrapment, Exit: The Process of Bruce Nauman,” an essay from summer 1986. Curator Jeffrey Weiss considers the artist’s installation, His Mark, 2021, for Artforum’s March issue.Tracing the evolution of Nauman’s practice one that investigates, according to the artist, “the possibilities of what art may be” scholar and critic van Bruggen focuses her attention largely on Nauman’s work from the 1960s. She recounts his early art-school experiments in paint and his later shift to sculpture, film, and video; she also details his pivotal
Two-person shows are always a risk. Not every pairing is convincing. “How Objects Grasp Their Magic,” Pace’s juxtaposition of works by Richard Tuttle and Choong Sup Lim two artists of the same age and generation who come from starkly different contexts and traditions of figuration and representation seems at first a curious match. While its poster places Lim and Tuttle’s work side-by-side, the exhibition is split between two floors, each dedicated to a single artist. Despite this physical separation, a certain sensitivity resonates throughout. On the psychovisual level, both artists wield an