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Kunsthalle Bern, Sie sagen, wo Rauch ist, ist auch Feuer, 2017
Kunsthalle Bern
Sie sagen, wo Rauch ist, ist auch Feuer (They say, where there’s smoke, there’s fire)
The exhibition Sie sagen, wo Rauch ist, ist auch Feuer (They say, where there’s smoke, there’s fire) brings together artists whose works and/or fictionalizations of their own authorship evoke narrations that are accompanied by or deal with rumors.
Kunsthalle Bern features artists who hide their identity as authors behind pseudonyms and alter egos, bringing together doppelganger, fictional artist’s personas, and similar manifestations of the longing to become someone else. The masking of one’s own identity stages the stimulus to take a look behind the scenes, to reveal the secret. These in part historical positions are ways of dealing with rumors, acrobatic exercises with the truth that in a present often characterized as being “post-truth” appear as precursors of what is today deemed normal, in which the shaping of one’s own identity has become part of general self-optimization.
Whitney Museum of American Art, Collected by Thea Westreich Wagner and Ethan Wagner, 2015
Whitney Museum of American Art
Collected by Thea Westreich Wagner and Ethan Wagner
Co-organized by the Whitney and the Centre Pompidou and composed of selections from the noted collection of Thea Westreich Wagner and Ethan Wagner, this exhibition celebrates American and international work from the 1960s to the present day.
Featuring renowned pieces by, among many others, Diane Arbus, Robert Gober, Jeff Koons, Sherrie Levine, Richard Prince, and Christopher Wool, the exhibition will also include recent work by artists such as Liz Deschenes, Sam Lewitt, Laura Owens, Frances Stark, and Bernadette Corporation.
Hessel Museum of Art, The Conditions Of Being Art: Pat Hearn Gallery And American Fine Arts, Co. (1983-2004), 2018
Hessel Museum of Art
The Conditions Of Being Art: Pat Hearn Gallery And American Fine Arts, Co. (1983-2004)
The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004) will be the first exhibition in the United States to examine the shared histories, art, and programming activities of Pat Hearn Gallery (PHG) and American Fine Arts, Co., Colin de Land Fine Art. (AFA), whose archives are held at CCS Bard.
While maintaining distinct programs and separate gallery operations, Hearn and de Land’s life partnership formed a third space devoted to shared ideas, artistic kinships, and overlapping communities that moved back and forth between their galleries. As art dealers, Hearn and de Land did not create rosters of individual artistic geniuses, but instead created – in dissimilar ways – markets for forms of institutional critique, research and project-based art not avidly collected at the time.
John Dogg
John Not Johnny, 1987
rubber, stainless steel, enamel, lacquer
28 x 28 x 8 1/2 in
71.1 x 71.1 x 21.6 cm
John Dogg
Untitled (Classic Belted), 1986
rubber, wood
30 1/4 x 30 1/4 x 11 1/4 in
76.8 x 76.8 x 28.6 cm
John Dogg
Sure Grip Loader, 1987
plexiglas, wood, rubber
57 x 57 x 20 in
144.8 x 144.8 x 50.8 cm
John Dogg
Untitled (White Vinyl), 1986
rubber, vinyl
30 x 30 x 6 in
76.2 x 76.2 x 15.2 cm
John Dogg
Untitled (Silver Hub), 1987
plexiglas, rubber, metal
6 1/2 x 11 1/2 x 11 1/2 in
16.5 x 29.2 x 29.2 cm
John Dogg
The Final Curtain, 2005
aluminum cans and plastic with metal rod
132 x 96 in
335.3 x 243.8 cm
If you’re a mere art lover and not a collector, big art fairs can sometimes make you feel out of sorts.
THE GREAT GIFT Frieze London bestowed on art aficionados this year was to propel them into galleries and museums.
Frieze Masters 2017 is hosting a special section titled the "Frieze Spotlight" which is on view at London's Regent Park.
London’s Frieze has swung open its doors to commence the fall season.
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