The notion of carte blanche appears at odds with the commercial art world, but collector Patrick Seguin has made it a habit: his annual “Carte Blanche” exhibition at Galerie Patrick Seguin invites an outside gallery to construct a show within the walls of his Parisian space.
The art world too global for you? Each week, Interview highlights in pictures the shows you’d want to see—if you could jetset from one international hub to the next
In a simultaneous divergence from and nod to his prolific, decades-long career in the ephemeral medium of public-space graffiti writing, Jason REVOK debuts his first-ever works on canvas—many of which he has created by repurposing tools and materials traditionally used by authorities to eradicate graffiti, like paint rollers and industrial grade airless paint sprayers. Six additional compositions are painted on blank aluminum street signs sourced directly from the same industrial supplier as those REVOK spent much of his foundational career illicitly defacing
“Nearest Neighbors,” Roe Ethridge’s current mid-career retrospective at the Contemporary Arts Center in Cincinnati, Ohio, explores the Miami-born photographer’s consistent style: No matter the subject, he plays with temporality, incorporating cataloging, repetition, and layers.
My budding obsession with the original punk rock bands of Los Angeles came at a young age in the early ‘90s.
In partnership with Creative Time and a team of theatrical collaborators, multidisciplinary artist Pedro Reyes has created Doomocracy , a political haunted house, in New York’s Brooklyn Army Terminal.
The art world too global for you?
The New York artist casts a complex cultural web inside each of her painting series.
New York City-based photographer, Mark Hartman, in the grips of a midlife crisis (of sorts), ventured to the beach boardwalk of Coney Island in search of some clarity.