Metro Pictures was founded in 1980 by Janelle Reiring, formerly of Leo Castelli Gallery, and Helene Winer, formerly of Artists Space, at 169 Mercer Street in New York. The gallery’s inaugural exhibitions featured artists such as Cindy Sherman, Robert Longo, Troy Brauntuch, Jack Goldstein, Louise Lawler, Sherrie Levine, James Welling, Richard Prince, and Walter Robinson–artists who would later be identified by critics and historians as Pictures artists.Read More
Many of them were prominently included in the Metropolitan Museum of Art’s 2009 exhibition The Pictures Generation. In 1982 the gallery presented the first New York exhibition of Mike Kelley soon followed by shows of John Miller, Jim Shaw, and Gary Simmons–artists who would elaborate ideas proposed by the California conceptual artists with whom they had studied at CalArts. In 1983 the gallery relocated to 150 Greene Street. During this period, René Daniëls and Martin Kippenberger had their first exhibitions outside of Europe at the gallery. Metro Pictures moved to its present location in Chelsea in 1997 and in 2016 1100 Architects renovated the gallery with an award-winning new design. Newer generations of artists have continued to expand the gallery, including Andreas Slominski, Olaf Breuning, André Butzer, Isaac Julien, David Maljkovic, Paulina Olowska, Trevor Paglen, Catherine Sullivan, Sara VanDerBeek, Tris Vonna-Michell, B. Wurtz, Alexandre Singh, Camille Henrot, Nina Beier, Oliver Laric, Judith Hopf, and Cui Jie. In 2020 the gallery announced representation of Latifa Echakhch and the Gretchen Bender Estate.
Gallery Weekend Berlin launches its second event of the year with galleries presenting artists whose work is lesser known to the broader public.
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Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist's new graphic novel The Extreme Self attempts to track the accelerated hieroglyphs of the emoji age.
The group exhibition Oh, Museum at Cement Fondu in Sydney examines complex questions around representation, ownership, and authenticity.
IN JUNE, NEW YORK'S MUSEUM OF MODERN ART WENT DARK to put the finishing touches on its contentious five-year expansion, which promised to put $450 million and 47,000 square feet of Diller Scofidio + R
Images are not what they used to be. Or put a little more precisely, images are not for who they used to be for. Known for his in-depth investigations of contemporary state surveillance, the American
ImageNet will remove 600,000 images of people stored on its database after an art project exposed racial bias in the program's artificial intelligence system. Created in 2009 by researchers at Prince
Looking at the work of Cui Jie from a northern European perspective, the first error is probably to think you're seeing some form of lament for a modernist past. That narrative is fairly familiar now,