The immediacy of performing with one’s own body allow artists to make ambitious breaks with the past as well as confront taboo subjects.
On September 21, Ai Weiwei left Munich University Hospital, where he had received treatment for a brain hemorrhage.
Australia’s largest city will open a major new public gallery, its third, in addition to the Art Gallery of New South Wales and the Museum of Contemporary Art.
Iranian painter Behjat Sadr died from a heart attack, aged 85, at her home in Southern France on August 11.
The hammering of nails could be heard during the early weeks of “Target Practice: Painting Under Attack 1949–78” at the Seattle Art Museum (SAM), as visitors followed the instructions on a placard next to a 1961 Yoko Ono work—consisting of a hammer, a trough of nails and a white wood panel—entitled Painting to Hammer a Nail: “Visitors are invited to pound a nail into this painting.”
The initiation of a new points-based system (PBS) for immigration by the United Kingdom Border Agency in November 2008 has sparked considerable controversy in the British arts community.
Veteran impresario Roberto Chabet playfully deconstructs Modernism in the Philippines.
A reflection on the provocative and visceral performances of Zhang Huan and a generation of outsiders that redefined contemporary Chinese art during the 1990s.
From a make-believe desert island in the kitchen to a domestic drama acted out in IKEA stores to a comical plane crash, an artist reinterprets his life through offbeat, cyclical narratives.
Barrie Bates renamed himself Billy Apple in 1962, a forceful rebranding that linked his sensibility to the nascent Conceptual and Pop Art movements in equal measure.
Curated with great sensitivity by Vietnamese-Australian Boitran Huynh Beattie, “Nam Bang!” was a unique, vibrant combination of art by Vietnam War veterans from Australia and the United States, contemporary Vietnamese artists from the diaspora and from Vietnam itself, the grown children of veterans still fighting their fathers’ battles with illness and bureaucracy, and protesters.
Effectively displayed in a single gallery, the 11 works in the exhibition ranged from the meditative to the playful to the blatantly discomfiting, underscoring the complexity of artistic responses that have emerged in recent years to address Palestinian displacement.
Zarina Hashmi has lived and traveled all over the world investigating the essence of identity, drawing upon sources ranging from her childhood memories in Aligarh, India, to contemporary political events.