Michael previews the upcoming documentary, “The Price of Everything,” and calls it a voyeur’s delight for those interested in the art market’s high rollers and art stars. Hot shot artist Jeff Koons gets a lot of screen time, if you’re into him, balanced with some Jerry Saltz and Larry Poons, who speaks about artists losing their souls to the marketplace. The film screens at the Prince Theater starting Nov. 2 and will be on HBO Nov. 12.
Read MoreDeborah Krieger takes a trip to Rowan University Art Gallery to view Heather Ujiie’s current installation of large-scale digital prints and elaborate sculptural objects. Terra Incognita, with its intense color palette and diverse aesthetic influences, explores sexual identity in relation to a range of both natural and spiritual forces. Catch it before it closes on November 17, 2018.
Read MoreThe group exhibition, “Making a Difference: Social and Political Activism in Clay,” causes our reviewer to ponder the deeper meaning behind the words in the show’s title and to weigh in on how art can or cannot be an effective tool to spark societal change. This provocative exhibit is at The Clay Studio through Nov. 17, 2018, so run over and see it.
Read MoreAndrea calls the humanist sculptural works of Rachel Whiteread, powerful, poignant and accessible without gimmicks. She praises the sculpture, cast from domestic objects as big as a house and small as a hot water bottle, which evoke absent bodies.
Read MoreLogan Cryer walks us through Lane Speidel’s elaborate and deeply personal show, “Don’t Miss Me.” Get some nonlinear healing and some treasure-trash before it closes on October 20th.
Read MoreNew Artblog contributor, Sydd Cox takes in the retrospective of Ree Morton’s playful body of work, on view at the Institute of Contemporary Art through December 23, 2018. “The Plant That Heals May Also Poison” includes sculptures and installation works from Morton’s brief but fruitful career infusing post-minimalism with idiosyncratic material riffs on the maternal.
Read MoreNew Artblog contributor, JuWon Park, reviews “Face Tan/Night Swim,” the current solo show by Haiti-born, Virginia-based installation artist, Abigail Lucien. On view at Vox Populi through October 20, her show critiques popular images of the Caribbean as an exotic tourist haven through the subtle arrangement of artificial smells and man-made materials.
Read MoreAndrea Kirsh visits DC and reports back on the Smithsonian American Art Museum’s new retrospective on self-taught folk artist Bill Traylor. “Between Worlds: The Art of Bill Traylor” presents a thoughtful and nuanced (if overly-ambitious) reframing of an artist who developed his vibrant and graphic style of image making during one of the darkest eras in this country’s history. Catch it now through March 17, 2019.
Read MoreLogan Cryer attends two very different shows at Philly Fringe, both of which explore the complexities and failures of capital “F” Feminism. In “White Feminist,” Lee Minora corrals her audience into a critique rooted in irony and identification. Radiant Bloom Productions’ “The F Word” takes a more direct, multi-vocal approach.
Read MoreMatthew Rose reviews Julie J. Thomson’s new book of interviews with late mail artist Ray Johnson. What emerges is an affectionately-rendered composite image of an elusive man whose whimsical patterns of speech and thought closely mirrored his approach to making work.
Read MoreIt’s easy to take the security that shelter provides for granted — until you find yourself out in the cold. Here Deb Krieger reviews “Shelter,” a new show at Davinci Art Alliance, presented in conjunction with Philadelphia Sculptors, which explores the vulnerability not only of our built environments, but of our own bodies and minds. This moving and topical exhibition closes September 26, 2018, so catch it while you still can!
Read MoreJessica Rizzo takes celebrated choreographer, Trajal Harrell to task over his newest piece, “Caen Amour,” which showed at the Fringe Festival earlier this month. According to Rizzo, Harrell’s piece, which was inspired by the hoochie-coochie performers of the late 19th century, falters not only in its attentiveness to history (and its audience) but in its treatment of the female body.
Read More
