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.
Kunié Sugiura was born and raised in Japan. She first came to America in 1963 to study at the School of the Art Institute of Chicago (SAIC). After graduation, she moved to New York City, where she still lives and works.
October 3rd, 2014 by Yixue Shao The press keeps rolling in for the Grey’s current exhibition Ernest Cole Photographer. Here are some illuminating quotes from, links to selected art reviews and interviews relating to Ernest Cole and apartheid photography. Cole’s powerful, uncropped photographs offer a stark insight into how black people lived under the apartheid […]
August, 13th 2014 If you need to escape from a sweltering summer day in New York City, Storm King Art Center is an ideal one-day trip that combines nature and art. After arriving at this expansive sculpture garden, we took a 20-minute shuttle tour and stopped at Andy Goldsworthy’s Storm King Wall. Over a period […]
June 19, 2013 by Hannah Stamler, Heidelberger Kunstverein Hamburg-based artist and curator Lena Ziese discovered Stuart Sherman while reading a 2009 interview with Pierre Bal-Blanc, director and curator of the Centre d’arts contemporain in Brittany (http://www.e-flux.com/journal/the-death-of-the-audience-a-conversation-with-pierre-bal-blanc/). The interviewer had, perhaps, only thought to reference Sherman because of two shows dedicated to the artist that took […]