Viewing 11 to 21 of 43 - Previous Page / Next Page (view cover flow)
Title: May 2009
Wary of ending up playing a supporting role in one of Fischli & Weiss’s ‘scenarios’ when we met up with Switzerland’s most famous contemporary artist duo for an interview, we opened our questioning with all guns blazing.
Read More ›
Read Magazine ›
Title: April 2009
Cytter conceives, writes, casts, shoots and edits her art videos in a matter of days, and then (usually) just chucks them onto YouTube. We look very closely at her Les Ruissellements du Diable (2008), a film whose two characters may not exist apart from in each other's obsessive, desiring imaginations.
Read More ›
Read Magazine ›
Title: March 2009
ALEX KATZ: One of the postwar era's most important figurative painters talks with Mark Rappolt about greatness, influence and the passion that keeps him going. FUTURE GREATS: Our panel of artists, critics and curators nominate the artists they think are going to make it big in the coming year.
Read More ›
Read Magazine ›
Title: January and February 2009
GLENN LIGON: During the past two decades Ligon has developed a practice that addresses the politics of race and sexuality with conceptual verve and confrontational panache. His output has not only famously digested the work of others - sources as varied as Richard Pryor, Jasper Johns and Gertrude Stein - but has often cannibalised itself. Here, a look at what comes next.
Read More ›
Read Magazine ›
Title: December 2008
ANSELM REYLE: With paintings that bring disco glitz to abstraction, the German artist's price in the market has vastly inflated in the past three years, but what about his cultural currency? THE APOCALYPSE: The end is nigh! Or is it? In the wake of financial collapse and climate change, our portfolio of features tackle how this is affecting culture. We consider contemporary art's preoccupation with ruins, depictions of apocalypse onscreen and the work of Anri Sala.
Read More ›
Read Magazine ›
Title: November 2008
Damien Hirst tops ArtReview's yearly list of the most powerful people in the artworld.
Read More ›
Read Magazine ›
Title: October 2008
ELMGREEN & DRAGSET take a quizzical approach to artworld protocol, turning it on its head with boyish humour RIVANE NEUENSCHWANDER: Working with dust, spice, slugs, ants and ribbon, the Brazilian artist unravels the poetic potential of the overlooked DOMINIQUE GONZALEZ-FOERSTER: The next artist to fill Tate's Turbine Hall takes the exhibition itself as her medium, creating art that surrounds us, rather than the other way round WILFREDO PRIETO: This year's Cartier Award recipient tells us how he blew the money
Read More ›
Read Magazine ›
Title: September 2008
JULIAN SCHNABEL: Today he's best known as a filmmaker, but once upon a time he was one of the biggest painters around, an inspiration to Hirst, Koons and all those other people we constantly talk about. How did he fall off the art radar, and does he have anything to give to art today?
Read More ›
Read Magazine ›
Title: July and August 2008
JEPPE HEIN & DAN GRAHAM: For two conceptual artists with an interest in architectural installation, a collaborative exhibition in Munich this summer presents the opportunity to compare and contrast preferences. JOEP VAN LIESHOUT: The Dutch artist shifts from utopia to dystopia with his plans for Slave City, a society that takes corporate and marketing logic to a new extreme.
Read More ›
Read Magazine ›
Title: June 2008
BEHIND THE CAMERA: Photographers Florian Maier-Aichen and Pedro Barateiro reveal their creative processes in works being shown at Photo Espana 2008, opening in Madrid this month. THOMAS HIRSCHHORN: Where does he stand? What does he want? LYNETTE WALLWORTH & PETER SELLARS: The Australian artist and the American director discuss globalisation, the digital UTA BARTH: Her exploration of the visual experience may be exhaustive, but the LA-based photographer rarely strays beyond the garden gate SETH PRICE: The artist’s shape-shifting video art and repackaged soundworks aren’t getting in the way of the big solo shows, but how far is it possible to go in questioning the meaning of contemporary art?
Read More ›
Read Magazine ›
