By layering Bo Bardi’s own words with images of her buildings and artist interacting with them, Julien creates a non-linear biography, one that eschews straight facts in favor of feeling, allowing us to experience her creations and life viscerally rather than academically.
Art News
In a perfectly paired yin-yang juxtaposition of exhibitions, two artists—Ana María Hernando and Yoshitomo Saito—show works inspired by nature, yet rendered in extremely different media. Coincidentally, both attended the California College of Arts and Crafts in Oakland, CA. The creative energy evident in these exhibitions is nonconformist, particularly in the artists’ use of media.
Halfway through the sixth decade of his career, Jasper Johns’s output has been prodigious enough to demand a retrospective hosted by not one, but two institutions: The Whitney and The Philadelphia Museum of Art. While Johns’s insistent self-reflexiveness is more likely to make you go “Hmm” than send a thrill down your leg—unlocking his puzzles has its pleasures.
After numerous delays due to COVID and personnel changes, the Academy Museum of Motion Pictures finally opened on September 30 after a weeklong lead-up that included a gala, an opening night party and a press event featuring luminaries like Tom Hanks.
September 18, 2021 marks the return of a previously annual celebration—Smithsonian Magazine Museum Day, an occasion marked by free admission to hundreds of museums, zoos, and cultural centers across the nation. Art & Object has assembled some highlights from across the nation that should appeal to our readers.
When we think of visages that defined Renaissance art between the fifteenth and sixteenth centuries, we're drawn to depictions of mythological and biblical figures and unnamed dames. Yet these subjects were only part of the artists' exploration of the human form—there was also the thriving art form of portraiture, which sought to express universality through the depiction of specific individuals.
When Yayoi Kusama established herself in New York City in 1958, the first thing she did was visit the Empire State Building. She climbed the landmark, looked out at the astonishing city, and, as she recalled in an earlier interview republished with Artspace, “aspired to grab everything that went on in the city and become a star.
The cloud’s chimeric quality is even more salient in Chinese visual and material arts. It has made a palpable mark on theories of painting and the visual arts of China, and by extension the visual culture of East Asia.
“There has never before been a period of greater accessibility, and greater opportunity for the people of any given culture to learn directly from one another,” says Susanna Ferrell, Wynn Resorts Assistant Curator of Chinese art at LACMA.
America is haunted. That is the premise of the first major museum exhibition to take a comprehensive look at the relationship between American artists and the unseen forces that lurk in our cultural history.
