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58th Venice Biennale: May You Live In Interesting Times Ocula Report 58th Venice Biennale: May You Live In Interesting Times 24 May 2019 : Mohammad Salemy for Ocula

The 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), certainly benefitted from low expectations, given the lacklustre curatorial of the previous edition, when different segments of the show were conceptually framed with titles like 'Pavilion of Joys and Fears' and 'Pavilion of Colours'. Add to this the...

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Zheng Bo Ocula Conversation Zheng Bo

Hong Kong-based artist Zheng Bo's social, ecological, and community-engaged art practice has, in recent years, focused on moving beyond a human-centred perspective to an all-inclusive, multi-species approach. He takes up marginalised plants and communities of people as subjects in his large-scale interventions, which reintroduce wildness into...

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Auckland Art Fair 2019: Conversations Extended Ocula Report Auckland Art Fair 2019: Conversations Extended 24 May 2019 : Sherry Paik for Ocula

The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...

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Related Press

The Colors of the Sixties

Thomas Mitchell Hyperallergic First published on 6 April 2019

Alex Katz, Edwin, Blue Series (1965). Oil and acrylic on composition board. 18 × 20 inches. Photo: Thomas Mitchell for Hyperallergic.

The eighth floor of the Whitney Museum of American Art, as David Breslin, the Director of the Collection, sees it, is 'a place for surprises.'

The elegant spaces of the museum's top floor, catching the light off the river through its skylights and glass walls, have felt enchanted ever since it opened in 2015 with the Early Modernist 'Forms Abstracted' section of the new building's inaugural exhibition, America Is Hard to See.

Breslin and Curatorial Assistant Margaret Kross have continued that magical sensation with the small but impactful Spilling Over: Painting Color in the 1960s. With just 18 works, one per artist, it expands the common understanding of a pivot point in American art, while basking unapologetically in the pure pleasure of looking.

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