John Menick, in his second installment of "Move 37," starts from a test conducted in Bell Laboratories in which participants were asked to distinguish a painting by Piet Mondrian from a drawing made by an IBM 7094 in order to investigate artificial intelligence, randomness, and creativity.
By Andrew Durbin. In Althoff’s cluttered, gorgeous exhibition, belief is paired with a disavowal of ideologies, ideas, histories, curios, and memories that cascade in an immersive installation of paintings and photographs set alongside domestic stuff seemingly retrieved from the dustbin of minor history.
By Nicholas Hatfull. The accommodating rhyme scheme of Laura Owens’s first show at Sadie Coles’s Kingly Street space puts bitmap pixels, silkscreened threads and the often visible tooth of the linen support on neighbourly terms. Of a swath just shy of fifty paintings, knottiest are several large formats enacting a disruption of enlarged embroideries, or painting software efforts that echo the woven.
The Bordeaux–based Benoît Maire gives us an overview of Castled, his first project with joségarcía ,mx, a contemporary art space in Mérida, Yucatan, where the French artist has used local materials and collaborated with native craftspeople to create in the ceiling-less space an installation that combines the natural and the human-made.
Five Car Stud was created by Edward Kienholz from 1969 to 1972, and first exhibited at documenta 5 in Kassel, curated by Harald Szeemann.