December 13, 2016 Cansu Saltik The Grey Art Gallery’s A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s, presents a fascinating collection of artwork documenting the life and performances of a critical artist of the avant-garde who deserves more recognition for her contribution to the trajectory of experimental, multimedia, and feminist art. The exhibition, […]
July 29, 2016 Cansu Saltik Believing in art as a powerful cross-cultural tool with the potential to unify global societies, Abby Weed Grey approached contemporary art from a truly multicultural perspective, collecting art from Iran, India and Turkey over the course of her travels. Seeking art that expressed “the response of a contemporary sensibility to […]
July 6, 2016 Aaron Ehrlich Moholy-Nagy: Future Present, on view at the Guggenheim from May 27 through September 7, 2016, shows an artist thoroughly occupied with questions of space, light, and form, using any and all mediums at his disposal to answer them. A prominent faculty member at the Bauhaus, Moholy-Nagy was, along with his colleagues, a […]
July 5, 2016 by Nikki LoPinto Mark Mothersbaugh has created more than 30,000 post-card sized drawings and collages. His music production company, Mutato Musika, has scored hundreds of films, television shows, and commercials, including Wes Anderson’s The Royal Tenenbaums and Paul Reuben’s Pee-Wee’s Playhouse. He also makes rug art. He is an artist, a musician, a […]
Associated American Artists tended to favor artworks that were widely relatable, non-confrontational and often bucolic. As a result, relatively little of AAA’s stock dealt with religious themes or imagery as, by definition, this kind of work generally appeals only to certain demographics. Joseph Margulies’s Man of Peace (1945), is an exception: one of relatively few AAA prints to deal explicitly with religion, and one of even fewer to depict Judaism.
June 9, 2016 by Ozana Plemenitash Thomas Hart Benton’s violently shocking and propagandistic The Year of Peril (1941–42) series introduces “AAA and World War II,” one of five sections in Art For Every Home: Associated American Artists, 1934–2000. The series presents us with one aspect of the company’s mission—to not only provide accessible artwork to the […]
Among a distinct variety of media on view at the Art for Every Home: Associated American Artists, 1934–2000 exhibition at Grey Art Gallery, a dress captures my utmost attention.
June 3, 2016 by Aaron Ehrlich William Gropper’s Joe Magarac (1946), one of only a few works on canvas in Art for Every Home, celebrates the working man as a proud paragon of American society. Gropper’s attraction to the mythic Pennsylvania steelworker hero is best understood both through his strong far-left sympathies and his capacities […]
March 15, 2016 by Ozana Plemenitash Global/Local 1960–2015: Six Artists from Iran is currently on view at the Grey Art Gallery, New York University’s fine arts museum. As the title suggests, this stunning exhibition brings together six modern and contemporary artists working with their local Persian traditions in Iran as well as internationally, broadening the […]
If Chohreh Feyzdjou’s works seem obscure at a first glance, their titles do not offer much clarification: the darkened and aged appearance of her Series betray their name’s allusion to the world of consumer capitalism, where we are constantly overwhelmed by the glare of tirelessly renewed commodities. This impression is all the more acute in Série E, 1989–93, where pieces of canvas and paper are rolled around horizontal bars on a scaffold so large that it just barely fits into the space where it is displayed at the Grey Art Gallery.