REVIEWS

/ ANDREW STEFAN WEINER
Kader Attia, Reason's Oxymorons, 2015.
by

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.
by

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.
by

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.
by

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.
by

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
“Greater New York”

MOMA PS1, New York

Park McArthur, Welcome to PS1, 2015.
by

Andrew Stefan Weiner

One of the biggest stories of the year in U.S. literary fiction was the publication of Garth Risk Hallberg’s debut novel City on Fire, for which the young author received a reported two-million-dollar advance––a startling number, even by the hyperinflationary standards of the contemporary art market. Such a bet seemed... continue reading

AUTHOR

view all

GALLERY

view all
Abc
Bq
Kow
M+B
Non
Vw

ARTIST

view all
Magazine Mousse
Spike
Michael Kon
Blum&Poe
Cardi Black Box
ArtAsiaPacific
The Third Line
The breeder
Vitamin creative space
Anton Kern Gallery
Friedrich Petzel
X-TRA
flashart