Connecting Artists

Vasari21 members weigh in on a depressing political climate Artists have always responded to the temper of their times. War and catastrophe, social inequities and racial injustice, corrupt politicians and noble heroes often bring out the best in artists—think of...

A make-believe show devoted to "hybrid objects," neither paintings nor sculptures, but definitely here and now By Robert Straight Over a long period of time, there have been artists who haven’t accepted the traditional rectangular format for their paintings....

Seeing Mona Kuhn’s subtly erotic nudes in the slide show that accompanies our podcast with her this week (and especially the photo titled Morgane from 2010) made me think of a book proposal…

I first encountered a couple of John Outterbridge’s trippy, sexy, irresistible sculptures on a press trip to Los Angeles in 2011 for the first iteration of Pacific Standard Time, the sprawling series of exhibitions devoted to art in southern California. It was love at...

A brief memoir of catering, art-history classes, and friendship For part of my junior year in college I lived off campus with one of my best friends, Kate, a woman thirteen years older than myself, and in many ways a kind of big-sister to me (since I had none). Kate...

Given the increasingly litigious nature of all aspects of our society, it comes as a surprise to find that many galleries and artists function happily without complicated contractual agreements. About half the people surveyed…

Why and How a Catalogue Adds Cachet In an era when vivid high-quality images can be accessed in a nanosecond on almost any available screen, why bother with something as cumbersome as a hard-copy catalogue with glossy images and real pages? Because the tangible can...

How, Why, and Where To Do One In a few weeks, Adria Arch will be staging her second “pop-up art experience” with fellow artists Patti Brady and Catherine Bertulli. The three-day event, called "Appetite," is part of Artweek Boston and will include the usual opening...

Your fearless correspondent takes another class It’s always seemed to me that a big part of the fun of art-making lies in the endless amounts of seductive stuff to play with—paints and brushes, pencils and charcoal and pastels, clay and plaster and all kinds of goo,...

Though short and to the point, the ten or so capsule reviews for art shows in the opening pages of the New Yorker each week are probably among the most widely read in the city, if not the nation.