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Many Moons
The West African artist El Anatsui first showed this work at UCLA's Fowler Museum in 2007 for his exhibition titled Gawu. Anatsui's work takes on a tapestry-like form in the way that he stitches together bottle tops and scraps of paper wrappers with copper wire. His work becomes more delightfully complex with each unique installation of his work as each one is uniquely draped for the respective exhibition space. -
Garden in Transit
"Garden in Transit" is the kind of work that brings enrichment to everyday routine. The project was a collaboration between 23,000 children and adults across New York City who painted the flowers on weatherproof panels that were applied to the thousands of taxis in the autumn of 2007. When else is a better time to stop and savor the flora than when hailing your cab? -
Siren by Marc Quinn
Marc Quinn seems to have a fascination for when beauty meets its uncomfortable opposite. Siren finds itself in a similar territory; Quinn presents a sculpture like a golden icon. After overcoming the gold-induced-blindness, we can begin to recognize the face among the provocatively tangled limbs: Kate Moss. -
Any Ever
Ryan Trecartin's films give us a distant mutation of reality. Regular parameters of space, time, and divisions (such as gender) soften their rigid structures to remind us of their truly arbitrary nature. Consequently, as the latter structures melt, we are left with a high-concentrated version of reality full of anxiety. The seemingly uninhibited dialogue and hyper-imagery are not unlike the endless stream of information and images we receive every day through our devices. -
L.O.V.E
Cattelan's work often carries with it a sense of humor, and LOVE is no different. the pointed gesture pulls on the deep history of Italian Renaissance sculpture and the pathos of monuments. The statue itself is installed at the front of the Italian stock exchange building, which casts a new light on Cattelan's tribute. "Officially its name is 'LOVE,' so it stands for love, but everyone can read between the lines and take away the message they see for themselves," Cattelan said. -
The Good Brush
Mullins has worked on countless projects as a concept artist, illustrator, and matte painter. He has created art for books, video games, and films.
Some of his book projects include the Halo Encyclopedia, BioShock: Rapture (2011), Murder of Souls (2011).
His film contribution includes The Matrix Revolutions (2003), Armageddon (1998), Apollo 13 (1995), Final Fantasy: The Spirits Within (2001), Forrest Gump (1994), Jurassic Park (1993), and Tangled (2010). -
The Mobile Homestead
Mike Kelley's final work, Mobile Homestead, is a project that has become somewhat of a hybridized installation-cum-community center. The object itself is a full-size replica of Kelley's childhood suburban Detroit home that was initially meant to travel to his actual childhood home. Kelley's Homestead is now managed by the Museum of Contemporary Art in Detroit. -
Mars Space Program
At the Park Avenue Armory, Mr. Sachs played on our curiosity for space and recent extraterrestrial explorations in connection to commercialized systems. Sach's Space Project: Mars found itself as somewhat of a hybridized project—somewhere between imitation of reality and authentic artistic investigation. Pulling from the fundamental human characteristic of curiosity and our yearning to discover, Sachs's created a world within a world for his Space Project. -
Nine Hour Delay by Irena Haiduk
This is a complex one, but stands for a way that the disorienting expansion of conceptual art mirrors the disorienting rewiring of economies and ideologies: In 2015, the Belgrade-born Irena Haiduk created Yugoexport, a conceptual-art company, and she has actually revived the “Borosana Labor Shoe,” an ergonomically designed shoe manufactured in the former Yugoslavia designed to be comfortable for working women who had to be on their feet all day. -
Elías García Martínez/Cecilia Giménez, Ecce Homo (aka Beast Jesus)
Laugh if you want, but no tale of art in the 2010s is complete without the beloved masterpiece of unintentional surrealism. When then 81-year-old retiree Cecilia Giménez sought to pitch in on restoration work for a relatively minor depiction of Jesus at her village chapel by Elías García Martínez (1858–1934), she created something much bigger than herself, probably much bigger than almost any conventional artwork. -
The City and The Storm
The city: New York, New York. The storm: Hurricane Sandy. Dutch architectural photographer Iwan Baan captured the front cover of New York Magazine's November 12 issue with an aerial image of Manhattan in an almost unreal state—half-lit due to a five-day power outage downtown. The image found its fair share of notoriety and helped Baan get representation by Perry Rubenstein Gallery. His first show, The City and the Storm, opens in February in Los Angeles. -
The Bay Lights, Leo Villareal
Claiming to be the largest light-based artwork around, Villareal’s animated collection of 25,000 twinklings LED lights on the Bay Bridge in San Francisco started as a temporary installation in 2013 but was popular enough that it returned as a permanent feature in 2016. -
Wolfgang Laib, Wax Room (Where Have You Gone-Where Are You Going?)
Promoting an intense sense of place and focus on materials within its intimate confines, this, the German artist’s first permanent wax room installed in a museum and the Phillips’s first new permanent installation since its Rothko Room, is worth the pilgrimage. -
Evolution of Print Media Illustrations
Craig Mullins and Jon Foster are two artists who work in several genres of illustration and also for film. Because of their extraordinary skill at imagining scenes, they not only create storyboards and concept art for films but also design illustrations for the sci-fi and fantasy genres of publishing. Foster has even visualized and brought to life historical scenes for National Geographic magazine. -
Anila Quayyum Agha, Intersections
Emerging from the Grand Rapids-based ArtPrize in 2014, where it both won a popular vote for best in show and split the critic’s vote—a convergence that’s as rare as a solar eclipse—Agha’s intricate lantern sculpture was inspired by the majesty of the Alhambra in Granada. It also emerged from her reflection on how women were excluded from the inspirational spaces of the mosque during her childhood in Lahore.