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Review: 'Art for the Future' at DePaul Art Museum chicagotribune.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from chicagotribune.com Daily Mail and Mail on Sunday newspapers.
Why Do Art Collectives End? frieze.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from frieze.com Daily Mail and Mail on Sunday newspapers.
An exhibit at the UNM Art Museum explores the legacy of a collective of artists that used public demonstrations, film, art exhibitions, mail art, performances, and poetry readings to protest U.S. military interventions in Central America.
Art for the Future: Artists Call and Central American Solidarities, the most in-depth exhibition to date exploring the formative 1980s activist campaign Artists Call Against US Intervention in Central America, will open Tuesday, Sept. 6, at The...
Felix Gonzalez-Torres, original name Félix González-Torres, (born Nov. 26, 1957, Guáimaro, Cuba—died Jan. 9, 1996, Miami, Fla., U.S.), Cuban-born American sculptor, photographer, and conceptual artist known for work in a variety of media that addresses issues of identity, desire, originality, loss, the metaphor of journey, and the private versus the public domain. Like many artists of the 1980s, Gonzalez-Torres used the postmodern strategy of appropriating ready-made motifs and objects to create his art, thereby challenging the idea of the unique art object that was so much a hallmark of Modernism. Gonzalez-Torres grew up in Cuba and Puerto Rico and then
Krause wins sixth race of 2021, locks up Wall Stadium Modified crown centraljersey.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from centraljersey.com Daily Mail and Mail on Sunday newspapers.
Supposedly, when he first saw the early-‘90s group photos by ART CLUB 2000, art dealer Colin de Land hated them. Not because the images were bad—quite the contrary. Because he knew that they were too good, that the group’s collective self-portraits would overpower everything else they tried to do. He was right, more or less. The cool retrospective of ART CLUB 2000’s work at Artists Space is sort of about the Monkey’s Paw curse of generational fame—a curse which the group was very much aware of. De Land’s American Fine Arts was a much-mythologized alt-commercial space, what Roberta Smith once called an “anti-art gallery.” Embracing “no capital as cultural capital,” its scrappy program took all kinds of fanciful risks.