REVIEWS

/ Claire Fontaine
View of Claire Fontaine, "Stop Seeking Approval,” Metro Pictures, New York, 2015.
by

Stephen Squibb

At the center of Claire Fontaine’s new show, “Stop Seeking Approval,” is a series of monochrome paintings, in gray, a burnt red, and black. They have been painted using anti-climb paint, their colors dictated by price and availability. Anti-climb paint never dries, so in addition to making its object hard... continue reading
Claire Fontaine, The Assistants, 2011.
by

Stephen Squibb

Claire Fontaine’s migration from Reena Spaulings to Metro Pictures for “Working Together,” her first show in Chelsea, pressurizes her concept of the ready-made artist. If this idea was once experimental, now it is deployed in the field at large. Fontaine has described the ready-made artist as referring, “to the reproducibility... continue reading
"A Vernacular of Violence" at Invisible-Exports, New York
by

Tyler Coburn

In an untitled text from 2005, the artist collective Claire Fontaine drew a distinction from the shopworn idea of distributed, democratic power, claiming, "Now power explicitly exhibits all the violence it needs to conserve itself" and, thus, implicitly excluding the participation of society's many constituents.... continue reading

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