When was criticism and the lover a made

Criticism and the Lovers No. Miles Barth. Lot Details. About This Lot Currently, only 2 complete sets of these 7 prints exist. No condition report has been added for this lot.

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Monumental Masters 12 days remaining View Sale. Drew have mirrored the political consensus on drug addiction, reducing it from a deeply political phenomenon driven by markets—both the pharmaceutical industry and underground economies—to a dialectic of Marian Goodman Gallery, New York. Parrasch Heijnen Gallery, Los Angeles. Galeria Stereo, Warsaw. The work is presented across two rooms; a larger space that almost exclusively shows portraits of artists from Maureen Paley, London.

In one sense, these modestly sized paintings are straightforward: splotchy pools of Greene Naftali, New York. Yet after exploring this kempt trove of paintings, sculptures, and displays, installed in separate When an atomic mushroom cloud is reduced to an image, it is more likely to inspire awe than terror. Pioneer Works, New York. Viral videos, especially those featuring animals, rarely make a lasting impression. Part of their charm is their innate forgettability.

But every now and then there is an exception. In April I came across a video online that has haunted me ever since. Shot by drone from directly above, this second Lisson Gallery, London. I still do not really know what color the fitted carpet is that runs through the three floors of Holloway Drive in West Hollywood. I do not know because Shahryar April 8—May 2, April 29, Julia Stoschek Foundation, Berlin. April 27, It was an emergency.

A podcast was assembled. A white expert was brought in. He used to skateboard. Chris Sharp Gallery, Los Angeles. April 22, We knew that the onslaught of pandemic art was coming. Here, the cataclysmic disaster is the most powerful volcanic eruption ever recorded: Mount Tambora, Indonesia, Volcanic ash blocks the sun, changing the weather and affecting crops on April 15, Kasper Bosmans has turned the Fondazione Arnaldo Pomodoro outside in.

On entering his solo exhibition, the visitor is presented with a reproduction of a stylized city: painted onto the walls in shades of red are two ajar doors; assorted memorabilia can be glimpsed through a window display; a mural resembles Fondazione Arnaldo Pomodoro, Milan. April 13, He determined to Kunsthalle Basel, Basel. With four looping videos and their intermingling soundtracks, Lee transforms this subterranean gallery into a bunker where the air is thick with bad vibes.

In these works, the artist—who was born International Waters, New York. March 26, Since the museum was founded in , it has largely dedicated its spaces to Museo Tamayo, Mexico City. March 25, Aesthetic objects of art and design have unruly lives beyond their official business—they exist in homes, imaginations, shopping malls, state politics, and world histories in ways that are promiscuous and difficult to control.

Over the last decade, Lucy McKenzie has depicted this pollination between forms in a captivating practice which Galerie Buchholz, New York. March 23, March 18, Written in an all-caps, dripping black font reminiscent of leaking bodily fluids and suggesting violence, the arresting phrase—which lends the exhibition its title—is lifted from a British March 16, Much of the material labor that drives the western world—rubbish collection, farming land, fulfilling Amazon Prime orders—is invisible.

March 10, Eisenstein argued that while conventional film merely directs emotions, montage directs the entire thought process. A century later, In the outside sculpture park is the wood, cement, and metal sculpture One Room Apartment , shown at Documenta 14 in Athens. A single staircase leads to a worn mattress on a morbid metal Jameel Arts Centre, Dubai. Sitting at my desk in London in front of my MacBook, I join a Zoom meeting where I look at four chunky, gray mids computers arranged on a table in an exhibition space in Berlin.

January 28—March 28, Rosie Lee Tompkins. She was an art teacher—my art teacher—and would routinely give short presentations about local artists, usually women, to teach her students about art made in Northern California. I knew that February 24, Casey Reas and Jan St. What would it take to simulate the sensorium of a single person on any given day and channel it into my own nervous system? February 16, Dvir Gallery, Tel Aviv. February 12, Tanya Bonakdar Gallery, Los Angeles.

February 10, Their colors are warm and bright: the grass is the greenest of green, skies blue beyond belief, the Chairman radiates kind-heartedness. Propaganda might at first seem an odd motif for an David Zwirner, Paris. February 5, Roberts Projects, Los Angeles. February 4, It is roughly 18 seconds of footage showing a solitary car parked by the side of a road at night engulfed in Swiss Institute, New York.

January 22, But a show at Monica de Cardenas in Zuoz, a nearly monochrome town surrounded by the silent Alps, offers a very different atmosphere to the world outside: a vivid and humorous Monica De Cardenas, Zuoz.

January 21, I can hear the way he held his horn, so closely attuned to the spaces he could Tate Britain, London. January 14, To date Reid has produced six exhibitions in cooperation with a January 12, In their current show at Essex Street, New York, the same number repeats on a crenellated Formica tear-off flyer, titled Dematerialize now but as self portrait January 6, And while cases have eased, the pool remains drained and shuttered as it undergoes refurbishment.

December 16, How do personal memories become fragments of a political narrative? How can images guide us back through the past? Pages from December 11, They are not exactly well, either. Her arrangements call to mind the doomed visions of Georges Bataille or Company Gallery, New York. December 9, In them young queer men gather inside and outside bars, dance December 4, Cue Art Foundation, New York. November 24, The work dates from , suggesting that while the rises of Trump and the virus have Made in L.

November 17, Three works in the first room, all titled Homo Sentimentalis all works , involve immense, magnificently polished marble Galerie Frank Elbaz, Paris. November 12, Let us begin with the grid: flat, rational, anti-mimetic, static. The grid, writes Rosalind E. Derek Eller Gallery, New York.

Tate Modern, London. November 5, I vowed to quit smoking again in March. Now it is October and we are in the middle of a second third, Galerie Nordenhake, Stockholm. October 29, State of Concept, Athens. October 27, Foksal Gallery Foundation, Warsaw. October 21, Some, like Hassan Sharif, addressed the twinned specters of rapid urbanization and hyperconsumerism by taking the influx of plasticky junk as raw materials for maximalist Lawrie Shabibi, Dubai.

October 16, Jennifer J. The eleven compact paintings in Jennifer J. Each work is around A4 in size and plays with layers of texture and detail, transferring source images of intricate scenes—stonework, crocodile skins, flowers, and October 14, Machines have eyes.

Calculating, extractive, synesthetic, they collect faces, monitor behaviors and habits, capture your fingerprints, eyes, and voice. So what exactly do these machines see, and how? Carnegie Museum of Art, Pittsburgh. October 6, The statement seems antithetical to the philosophy of the most famous techno club in the world. Before lockdown began and ravers were forced to find their fun at illegal parties September 29, Kate MacGarry, London.

September 24, How are stories told? Who is remembered, who forgotten, and why? Which narratives last and what histories remain unaccounted for? These are questions of the moment, when representation is crucial to political struggle and debates on decolonial knowledge gain mainstream traction.

September 18, For about a Berlin Biennale for Contemporary Art, Berlin. September 14, September 11, Yokohama Triennale, Yokohama. September 8, As a real chilanga , born and raised in Mexico City, Paloma Contreras Lomas is familiar with the ultra-centralized bent in Mexican culture: how the images and discourse produced in the capital solidify into countrywide narratives through their reproduction in the media and popular culture.

Her awareness of her own position Pequod Co. September 4, A paperback edition of The Black Jacobins , C. Arcadia Missa, London.

The project is set up as a dialogue between nine artists and nine writers. Each page centers images of an artwork at the top, with an interpretative meditation The influence of translations of Taoist texts, including the I Ching and the Tao Te Ching , on early twentieth-century ecology in the West and its post-war cybernetic revival is well-known.

According to the teachings of Lao Tzu and centuries of Taoist tradition, the Way is found in the encounter of Kunsthalle Lissabon, Lisbon. Cabinet Gallery, London. Pirelli HangarBicocca, Milan. The group show, held across two sites in Hong Kong, takes the entangled Kathmandu Triennale. Since the mids, Erica Baum has been coaxing a fragmented poetry from the unlikeliest places, quarantining found snippets of text that never aspired to great significance and dilating both their scale and their associative potential.

Population: zero. Formerly claimed by Jamaica and Honduras, this reef and islet cluster is administered by Colombia, though Nicaragua and the US both insist that it belongs to them. Devoid of citizenry, the island is defined Metro Pictures, New York.

The axiom that history is always written by the victors can be rejected by observing how different versions of it meet, merge, and are retold in shifting accounts that tell us as much about the present as the past. It does not explain Center for Contemporary Art, Tel Aviv. Do I want to delude myself? Do I now want to prove that here I Fondation Cartier pour l'art contemporain, Paris.

April 28, Wilfried Lentz, Rotterdam. April 23, Haus der Kunst, Munich. April 14, Worried that I may have become an invisible conduit for viral contagion, my heightened bodily self-consciousness found How much is too much, when it comes to the art of Peter Saul?

How about: Every gallery on the floor below packed with at least New Museum, New York. March 31, Standing in the cavernous, quasi-industrial space—most of the internal walls had been removed—it felt appropriate that the last show I expected to see in a long time March 27, Insulated from the outside world by a PVC strip curtain, a spiral staircase leads visitors down to the Douglas Hyde's cavernous lower gallery, its volume halved The Douglas Hyde Gallery, Dublin.

Therapeutic practices ranging from the seemingly benign to the dangerously experimental enforce the psychological norms that uphold that system. Galerie Isabella Bortolozzi, Berlin. March 22, Ever since the s, groups of idealistic South Africans have periodically banded together to stage ambitious group exhibitions informed by the prevailing zeitgeist and framed by a promise of regular return.

Yet if there is a common thread to defunct biennial and triennial expositions like Art South Africa Today —75 , Stellenbosch Triennale, Cape Town. March 19, Finding space for exhibitions within the sprawling architecture of a major film festival is a tricky affair. Trickier still is the act of March 17, One photograph Skyline shows a blacked-out Manhattan skyline; another Jewels Victoria Miro, London.

In its afterlife, an exhibition assumes different shapes. Once a show has come to an end—its artworks assessed, wrapped, and shipped, walls repainted, and artists, curators, and assistants moved on to a new project—what remains is a complex patchwork of individual and collective memories, embodied by a single object, a Instigated and curated by the Venezuelan painter Jaime Gili, it foregrounds the importance of collegiality and self-organization Cecilia Brunson Projects, London.

Working between sculpture and design, she extracts commonplace objects from domestic contexts and defamiliarizes them through her use of unexpected materials, distortion of scale, and exaggeration of their formal properties: their curves and bends.

Casey Kaplan, New York. February 26, As is often the case in public institutions, the provision for small children at this show is minimal. An activity table in the middle of the spartan gallery draws attention to the bare floor surrounding it. February 20, Hirata produces videos for artists, as well as documenting live events and providing technical assistance, and this exhibition presents six videos he has worked on.

February 19, February 18, A string of scandals highlighted once again just how embedded museums like MoMA, and its affiliate PS1, are in the military and prison industrial complexes responsible for so much of the devastation on display in February 7, Terry Allen was born in in Lubbock, Texas. Nina Johnson, Miami. February 6, The world has experienced immense changes since the turn of the millennium, including the spread of neo-fascism, a deepening of the climate crisis, and advances in digital technologies.

Yet one situation has remained consistent throughout that time: infernal war across the Middle East. Whether in Afghanistan, Iraq, Syria, or Yemen, Jane Lombard Gallery, New York. The work of the American artist Bruce Conner—dime-store assemblagist, quick-splice cineaste—is too little seen in the UK, and so we should be grateful to Thomas Dane Gallery for their recent periodic exhibitions of his work, each focused on a single film.

January 29, January 28, I was wrong. About sexism, silencing, inequality, discrimination, patriarchal oppression, rebellion, January 23, Kunstraum Innsbruck, Innsbruck. We dream in the dark. Repressed memories, daily conflicts, ghosts, and other spirits surge while, unconscious, we sleep, eyes closed. Dreams haunt our waking lives too, though usually with faint traces. Most people remember little of their dreams, and share even less with others.

Likewise, audiences have grown accustomed to Writing in the late s, the Dutch medievalist Johan Huizinga emphasized the generative importance of play to human cultures by delineating its fundamentally nested nature. Focal Point Gallery, Southend-on-Sea. January 10, A large china cabinet filled with kitsch figurines is positioned diagonally across a small room. Hidden behind it is the lid of a casket, strewn with withered roses.

The Drawing Triennial , Oslo. January 9, The Austrian artist, so associated with this bold punk aesthetic, represented her nation at View All. Cost calculator.

View Condition Report. The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale. Against this background, the computationalist notion that the human brain is a suboptimal computer has enormous political and ethical weight.

The critical discourse around art and AI takes on urgent political significance. Critics cannot simply ignore AI creativity as they might have ignored momentary fads in the past. Art institutions are now eagerly partnering with corporations that conduct research in machine learning, seeing them as new sources of funding and audience engagement.

Artists today can employ the same tools used to drive autonomous vehicles, surveil and track immigrants, or calculate the probability that a person will commit a crime. In this rapidly changing climate, criticism of art made with AI has a responsibility to engage in a structural analysis that identifies the position of GANs in the system of power relations known as platform criticism. Khan, is the strongest example of criticism that addresses this new algorithmic regime.

She then discusses the work of Trevor Paglen, Ian Cheng, and Sondra Perry, identifying automated image production as a profound transition from passive to active camera vision.

Her analysis reveals a drive toward a machine-enabled omniscience. Large-scale machine learning marches inexorably toward optimization, always seeking more data in an attempt to smooth out mistakes in computational judgment.

Worst of all, these highly orchestrated efforts present themselves as neutral, objective, and impervious to critique. AI creativity, however tenuous, is an early indication that art has now become inextricable from the same platforms that run the information economy and all its newly potent political apparatuses. Criticism of AI art must acknowledge this reality, and explore how it shapes the art of our time. All Rights reserved. May 6, am.

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