In this rich, dense, and compact show, Mel Kendrick focuses on his generally solid, large, puzzle-like sculptures, most in his current signature tones of yellow and black, creating a dynamic continual exchange with scribbled surface-markings playing in contradistinction to weighty, muscular structures.
This week, the editors revisit Max Kozloff’s “Men and Machines” from Artforum’s February 1969 issue. The critic’s reflections on art and technology are best read alongside our summer issue, which contains writings on artificial intelligence by hannah baer, Mario Carpo, and Zoë Hitzig.“Comforting solipsisms do not forestall fear that our onetime extensions, the machines, are becoming our present competitors.” Written more than fifty years ago, Kozloff’s words ring with alarming prescience as staggering developments in generative AI portend the disruption and reorganization of human labor, knowledge,
Marcel Duchamp, in full Henri-Robert-Marcel Duchamp, (born July 28, 1887, Blainville, France died October 2, 1968, Neuilly), French artist who broke down the boundaries between works of art and everyday objects. After the sensation caused by Nude Descending a Staircase, No. 2 (1912), he painted few other pictures. His irreverence for conventional aesthetic standards led him to devise his famous ready-mades and heralded an artistic revolution. Duchamp was friendly with the Dadaists, and in the 1930s he helped to organize Surrealist exhibitions. He became a U.S. citizen in 1955.
Although Duchamp’s father was a notary the family had an artistic tradition
Nearly 40 years ago, Miami-Dade County opened a downtown cultural arts complex. It looked like Italy. Mediterranean flourishes. An open plaza. Eventually the place was home to an art museum, a history museum and the main library branch.
Just as Cubism rejected the concept that art should mimic nature, architects found themselves following suit and designing structures that defy the norm.