Jesper Just's new film, A Vicious Undertow, currently on display at the Perry Rubenstein Gallery, plays like a poetic forties-era drama.
Joe Fig's tiny, meticulously crafted miniature replicas of famous artists' studios, up at Southampton's Parrish Art Museum through August 5, are every art nerd's—and doll house enthusiast's—happiest dream.
The salon-style, Mario Testino–curated exhibition "At Home" opened yesterday at Yvon Lambert to a crowd of hipsters, models, art world royalty (Rachel Feinstein! John Currin!), Sienna Miller (looking as Edie-esque as ever), and Testino himself.
As inextricable from youthful folly as they may be, road trips, in the purest sense, are somewhat foreign to New Yorkers — at least to those of us who haven't driven in years. Get in touch with the rest of the country and check out the blissfully nostalgic "Easy Rider: Road Trips through America," opening tomorrow at Yancey Richardson.
Sure, "The Atrocity Exhibition," up at Thierry Goldberg Projects through July 28, may be the thematic Debbie Downer of summer shows — especially when compared to whimsical uppers like Smith Stewart's exhibition "She Was Born to Be My Unicorn."
Katharina Sieverding's Transformer rounds out the pro-fem show "Wack! Art and the Feminist Revolution," now in its last week at L.A.'s Geffen Contemporary at MOCA. Sieverding's drag-ish, seventies-era film reels (seen here in a still from her video projection) are what we'd imagine Warhol's "Film Stills" might have looked like had Marilyn Manson been his on-set stylist.
Latex sculptor Christoph Broich's installation Voluptuous Panic, on view as of today at the Lower East Side's Envoy Gallery, plays like an abstract bacchanalian cavalry.
Mercedes Helnwein's immaculately executed drawings play out like dramatically lit, attractively cast indie flicks. To wit: In various works a jaded Lower East Side spinster type acts coy, wears torturously high heels, and poses half-naked with a duck.
Rudolf Stingel, the art critics' darling whose highly anticipated retrospective opened this weekend at the Whitney, has a funny way of exploring artistic process. While he's best known for his colossal minimalist constructions (Styrofoam "canvases," transformative installations — both of which are on view at the Whitney), we kind of like the look of this multitasking Buddha: a tranquil (though perhaps maniacal) take on artistic apprenticeship.
This year’s weekly “Warm Up” dance party at P.S.1 gets an aesthetic boost from Ball–Nogues' whimsical, kaleidoscopic installation.
As summer group shows abound, it's refreshing to see one of the megagalleries taking a vintage approach.
The Venice Biennale is essentially a highbrow round of show-and-tell as galleries from around the world boast their best and brightest.
For her showing at this summer's Documenta 12 (the show staged every five years in Kassel, Germany, at which Jeff Koons was famously discovered decades ago), Bosnia-born artist Danica Dakic gets at a new kind of “teenage wasteland.”
Takashi Murakami has already spawned multiple editions of just about every object imaginable — so it was only a matter of time before he spawned a candy-colored disciple too (or two, or, twenty, actually). Enter the first: Mr. (yes, just Mr.), a mysterious protégé and a product of Murakami's "factory"-like Kaikai Kiki company-collective. Mr. wraps up his New York solo debut tomorrow at Lehmann Maupin. —Rachel Wolff
Though you wouldn't know it from the Whitney's punch-drunk "Summer of Love" show, the sixties were hardly just peace, love, and LSD.
Unlike most guys in New York, Edward Burtynsky isn't just looking at China's breakneck development to make a buck (or a billion). The photographer, subject of Manufacturing Landscapes, a new doc opening today at Film Forum, makes bizarrely beautiful, enormous photographs of China's new industrial revolution.