(Andrea visits two galleries in New York, sees three excellent shows, and buys something. –the artblog editors) Entering Kent Fine Arts these days is disorienting, because beyond the building entryway, elevator, and usual gallery door is a perfectly-realized, functional, used book store: metal shelves full of books, an occasional easy chair, recommended titles arrayed on a table, and a separate section for children. The only thing missing is the dust that usually characterizes such places. It’s the only store in N.Y.C. devoted to second-hand, Spanish-language books, despite the fact that a quarter of the city speaks Spanish. E-publishing hasn’t fostered ... More » »
Quiet, a little sad, introspective, and not a lot of beauty. Those are how I’d sum up this year’s Whitney Biennial, now celebrating its 75th edition. After the ebullient excess of 2008, in which more than 80 artists exploded beyond the bounds of the museum, taking up residence in the nearby armory, and pock marking Central Park, a mere 55 artists certainly reflects a societal time of retrenchment and self-reassessment. It’s as if America is no longer the youthful shiny penny it used to be. Well, that would be right. It’s not. And this is the Whitney Biennial that reflects ... More » »
At this moment when video has become an enormous presence in Philadelphia, one of the smartest and up-to-date video group shows around is at Philadelphia’s vintage collective, Nexus. Supergirl!, an exhibit of work by nine women, is provocative–both for its post-feminist content and its art historical chops.
Recent art history that describes the 1970s as entirely Minimalist leaves out a lot; the same can be said for the predominantly U.S.-centric view. The Swiss Institute is showing the first solo exhibition of Manon’s, a survey from the 1970s to recent work (through June 30), and it’s an eye-opener.