Since the late 1980s, Rainer Ganahl has frequently exhibited his work in solo and group shows around the world; he has been included in biennials from Moscow to Shanghai, has shown in the Arsenale in Venice and as a representative in the Austrian Pavilion, and recently has opened a series of solo exhibitions in museums around Europe. He speaks with John Beeson about context, form, and the benefits of biking.
Author archives for John Beeson
THE WORLD AS IT IS AND THE WORLD AS IT COULD BE, an exhibition of new work by British conceptual artist Stephen Willats, now occupies the first-floor gallery of Victoria Miro in London. Integrating bold graphics with flares of text, Willats’ mostly two-dimensional works address the world’s harsh realities and utter banalities with an even theoretical attention.
In the latest installment of Sight Mapping, John Beeson discusses the exhibition New Balance & Unfinished Business with the artists and curators involved. The full-screen subtitles feature an edited version of the interview while the unedited discussion takes place in the background.
Brad Alexander, originally from Philadelphia, Pennsylvania, has been living in Southern Germany since graduating from Wesleyan University in 2008. Alexander is currently enrolled at the Staatliche Akademie der Bildenden Künste in Stuttgart, which has seen Willi Baumeister and Alfred Hrdlicka as professors as well as Oskar Schlemmer, Max Ackermann, and Bernd Becher as students.
A new exhibition in the expansive Württembergischer Kunstverein in the city of Stuttgart in southeastern Germany is the first comprehensive solo show for Cologne-born artist Bettina Lockemann. Serving as a prolonged investigation of documentary technique and its aesthetic, nearly all of the numerous photographic series and several videos depict sites of the artist’s international travel.
Acting as a signpost for a new exhibition at PS1, “Green Desert” by Heather Rowe sensitizes visitors to visual textures, literal referents, and artistic nuance, keys to experiencing much of the work that has been brought together. “Between Spaces,” a rare exhibition organized by the junior curatorial staff—namely Tim Goossens and Kate McNamara—begs viewers to pay close attention to moments of transition and liminality, which are not limited to physical space. In eight thoughtfully arranged galleries, the curators present recent work by eleven relatively young artists.
At a first glance, Lothar Osterburg’s photographic works can be visually disorienting given the textural presence of their surfaces. This is because these are photogravures, prints—that is, works on paper—rather than photographs.
Salon 94 Freemans recently opened for the season with an exhibition of new black-and-white pictures by the artist Carter. The images, made large-scale by tiling laser printouts, variously depict elegant interiors, figures, and marble sculptures.
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