“I’m trying to find a new vocabulary to express certain things artistically,” Zhang Huan says. This comment applies to everything from his earliest performances in a poor part of Beijing, which he named the East Village, to his recent two-ton self-portrait as Buddha.
January/February 2008
Linda Stein
Boca Raton, Florida Linda Stein is an artist and pacifist with…see the full review in January/February’s magazine.
“WACK! Art and the Feminist Revolution”
Los Angeles “WACK! Art and the Feminist Revolution,” which…see the full review in January/February’s magazine.
Sasanqua Link
Brattleboro, Vermont Sasanqua Link believes that the body…see the full review in January/February’s magazine.
Ludwika Ogorzelec
Toronto Extending across the outdoor space of the…see the full review in January/February’s magazine.
Ada Bobonis: Anthropomorphic Amalgams
Over the past several decades, Puerto Rican artists have been making their mark on the global art stage. The late Félix González-Torres, Cuban-born but a graduate of the University of Puerto Rico, represented the United States at the 2007 Venice Biennale.
Shary Boyle
Waterloo, Ontario Shary Boyle presented “Aspects & Excess” in…see the full review in January/February’s magazine.
Hic Terminus Haeret: Daniel Spoerri’s Garden
I first encountered Daniel Spoerri’s work through one of his “snare-paintings.” This object (actually, a set of objects) consisted of a wall-mounted tabletop onto which the remains of a meal had been fixed: drinking glasses, cigarette butts, an ashtray, cutlery, dishes, and some residual food all clung to the wooden surface, sealed within transparent glue.
PhD Studio Programs
Artists create their own credentials. Art schools and universities offer an array of degrees and certificates, and various artist societies allow members to tag on some initials after their names, but artists are esteemed based on the quality of their work, its influence on other artists, and where it has been shown and collected.
Olafur Eliasson: Impresario of the Senses
“Take Your Time: Olafur Eliasson” opened on an auspicious morning at the San Francisco Museum of Modern Art, the sun rising as a huge red ball in a hazy sky. The fierce glow, which resulted from wildfires around the Bay Area, bore an uncanny resemblance to Eliasson’s 2003 breakout work at the Tate Modern, The Weather
