REVIEWS

/ ANDREW STEFAN WEINER
View of Jörg Immendorff’s “LIDL Works and Performances from the 60s,” Michael Werner Gallery, New York, 2017.
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Andrew Stefan Weiner

At the time of his death in 2007, Jörg Immendorff was celebrated in his homeland as one of postwar Germany’s most famous artists, and also as one of its most infamous. Earlier that year the terminally ill, functionally incapacitated painter had directed a team of assistants to produce an official... continue reading
Kader Attia, Reason's Oxymorons, 2015.
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Andrew Stefan Weiner

Despite their enigmatic, aloof character, most of the works in Kader Attia’s current exhibition at Lehmann Maupin are relatively easy to make sense of. Whether in their medium (neoconceptual sculpture), their mode of facture (readymade assemblage), or their topic (cultural hybridization), they exemplify what we now expect of “global contemporary... continue reading
View of Ai Weiwei's “Roots and Branches,” Lisson Gallery, New York, 2016.
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Andrew Stefan Weiner

Whatever one might think of Ai Weiwei, he has made it impossible to simply not think about him. Ai’s will-to-notoriety has led to him to become all but ubiquitous, with much of this publicity deriving from his transformation into the world’s most prominent artist-activist. Critical reactions to this development have... continue reading
View of Simon Denny, “Blockchain Future States,” Petzel Gallery, New York, 2016.
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Andrew Stefan Weiner

Few major exhibitions in recent memory have generated anything like the sort of intensely polarized response that greeted the recently concluded 9th Berlin Biennale, curated by the New York-based DIS, an increasingly notorious group of Gen X and Y “creatives” with close ties to the fashion and advertising industries. A... continue reading
John Akomfrah

LISSON GALLERY, New York

John Akomfrah, The Airport, 2016.
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Andrew Stefan Weiner

It is lamentable and somewhat curious that John Akomfrah is just now receiving his first major exhibition in the US. Despite the critical acclaim Akomfrah has received in the UK and Europe, both for his recent solo output and his earlier work with the Black Audio Film Collective, he remains... continue reading
“David Hammons: Five Decades”

MNUCHIN GALLERY, New York

View of “David Hammons: Five Decades,” Mnuchin Gallery, New York, 2016.
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Andrew Stefan Weiner

Among the many brilliant and confounding works in David Hammons’s current retrospective is one entitled A Movable Object/A Japanese Garden (2012). The piece centers around a wheeled flatbed dolly, a perfectly banal machine bearing strange cargo: chunks of broken asphalt interspersed with unrecognizable articles of clothing and lengths of colorful... continue reading

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