This is a season of big ideas at the ASU Art Museum. Sex, self, gender, time — take your pick. If you don’t walk out of these shows thinking, you might need a box of mental floss. Begin with Janis Lewin’s “The Aftermath (9/11).” You may feel as if you’ve…
After 21 years in the business of printing art, Joe Segura has moved his inventory and his presses from Tempe, where they occupied a small, relatively isolated cinder-block building, into an airy, surprisingly quiet space along Mesa’s Main Street. Sandwiched between Shanghai Express on one side and the temporary home…
Jim Campbell’s advantage as an artist is that he wasn’t trained as one. Hatched as an electrical engineer, he made the leap from pragmatism to poetry on his own, bringing with him a wariness about the limitations of digital media. This caution has served him well. As the art world…
Greg Esser is a man who thinks in broad, connected strokes — a big-picture guy. “What we’re doing here,” he says, standing in the middle of a raw, modest space at 515 East Roosevelt, “is creating a synergy and an aggregate. A destination.” When he says “here,” Esser refers not…
Deborah Hopkins, curator of exhibitions at the Scottsdale Museum of Contemporary Art, likes art that “gets out of the frame and jumps off the pedestal” — an apt way to describe the works in “Thin Skin” (known to many of us as “the bubble show”), on view at the museum…
At a time when it feels like there are video news crawlers inching across the base of your brain, and so many images you’re subjected to take their meaning from war and austerity, there’s something to be said for seeing things at a standstill. Deborah Beresford is here to remind…
A six-inch seal — blue, shiny and cartoonish — is emerging from a miniature plastic toilet. With the pull of a cord, the marooned animal comes to life. A creepy melody starts to play — the music of some deranged jewelry box — and the seal’s head begins moving back…
My friend Paul is, among other things, a devoted Titanic enthusiast. While other little boys were playing kickball, Paul was playing “Capsize,” a game he’d invented about being trapped on a sinking luxury liner. As a teen, he spent his milk money on membership in the Titanic Historical Society; today,…
An artist usually has to be stone cold dead before his work is ever shown in the Musée du Louvre in Paris. Photographer Joel-Peter Witkin, however, has managed to escape the bureaucratic guillotine and now stands among the handful of living artists whose work has been deemed important enough to…
Nearly 35 years ago, Ernesto “Che” Guevara — radical Marxist revolutionary, trained medical doctor and severe asthmatic — was captured and killed in Bolivia by Bolivian military forces. Guevara had gone there to spread the political revolution he had successfully fomented in Cuba during the 1950s side by side with…
Long before the economy took its most recent nosedive, the state of the contemporary art scene in the Valley of the Sun could be labeled as pretty abysmal. Only a handful of decent contemporary galleries still open their doors, especially ones willing or financially able to show the work of…
“Stories and Souvenirs,” an exhibition of documentary and portrait photography now lining the walls of ASU’s Northlight Gallery, inspires confidence that classic film-based photography, as practiced by camera masters in the 1940s, ’50s and ’60s, still survives and thrives, despite the world’s present predisposition to All Things Deeply Digital.Located in…
Turf-building ranks second only to body-building as an American obsession. Our lawns have grown into a 25 million acre habit, costing roughly $7 billion a year in grass-care materials and machinery alone — and that’s not counting the chunks of lava rock strewn all over Sun City.They guzzle immeasurable gallons…
It’ll be 10 years this fall since the Smithsonian Institution turned down the lights on one of the most infamous art shows of the 1990s — “The West As America,” a cynical six-month exhibit that marked the art world’s first awkward introduction to the notion of political correctness. The show’s…
Having been born and raised 15 minutes from the Mexican border, it’s no surprise that I have a deep and abiding love for Mexican folk arts, crafts and culture. I’ve spent years traveling through Mexico’s interior, boarding buses, hiring drivers, renting cars, all in the ongoing quest to root out…
What a difference almost a decade makes in the ever-morphing world of contemporary art. I can really appreciate this fact when I think about the very first article I wrote for New Times. It was a review of “Alternative Identities,” the 1993 Triennial at Phoenix Art Museum curated by Bruce…
You don’t notice the powder-blue hat at first. Its hue is too cool to steal your eye from the surrounding candy-wrapper yellows, oranges and reds. Yet once you see it, rising almost headless above a candy aisle in Andreas Gursky’s large photographic mural 99 Cent, the hat becomes one of…
New York painter Donald Sultan long ago abandoned the tried-and-true tools and materials customarily associated with an artist. Eschewing canvas, Sultan instead opts for heavy-duty Masonite topped with cheap, run-of-the-mill linoleum tiles — the kind seen on the floors of old cafeterias and kitchens — as a base for his…
I’m being far from hyperbolic when I say that the most searingly memorable art event in the Valley this summer is Iranian-born Shirin Neshat’s critically acclaimed 1998 video installation, Rapture.And, after seeing this 13-minute piece, on loan from Santa Monica’s Broad Art Foundation and staged locally in a stripped-down, shadowy,…
Mirror, mirror on the wall, who’s the fairest of them all? Apparently, it’s high-profile art collectors Jacques and Natasha Gelman, judging from all the glitzy portraits commissioned from famous Mexican artists that now grace the walls of the Phoenix Art Museum as part of “Frida Kahlo, Diego Rivera and Twentieth-Century…
No birthday party in this town seems to be complete without the tradition of breaking a piñata. And why should it? After all, nothing says “Happy Birthday” better than taking a giant wooden stick and beating the complete crap out of, say, a life-size Barbie or a smiling yellow Picachu…
Too much digital or ‘Net.art’ suffers from an anemia that comes from a steady diet of neo-Conceptualism and raw, uncut theory,” sputters Mark Dery, author of Escape Velocity: Cyberculture at the End of the Century, during an e-mail-generated discussion with several prominent museum curators in March’s Artforum magazine. “Let’s face…
