A Preview Of "Fast Forward: Painting From The 1980s" Opening At The Whitney Museum In New York

Fast Forward: Painting from the 1980s presents a focused look at painting from this decade with works drawn entirely from the Museum’s collection. In the 1980s, painting recaptured the imagination of the contemporary art world against a backdrop of expansive change. An unprecedented number of galleries appeared on the scene, particularly in downtown New York. Groundbreaking exhibitions—that blurred distinctions between high and low art—were presented at alternative and artist-run spaces. New mediums, including video and installation art, were on the rise. Yet despite the growing popularity of photography and video, many artists actively embraced painting, freely exploring its bold physicality and unique capacity for expression and innovation. Fast Forward: Painting from the 1980s will be on view from January 27 to May 14 at The Whitney Museum in New York. photographs by Adam Lehrer

Sophie Calle Installs Safes For Storing Lovers' Secrets At Fraenkel Gallery In San Francisco

"Find a couple. Have each of them tell me a secret. Install two safes in their home. Lock each secret up in its own safe. Keep the codes to myself. The lovers will have to live with the other’s secret close at hand but out of reach." Fraenkel Gallery presents an exhibition of work by Sophie Calle. Calle uses photography, text, and video to pursue her sociological and autobiographical investigations. Her exhibition at Fraenkel Gallery focuses on four bodies of work in which the artist delves into the nature of love, violence, secrets, and death. Among the works on view will be Secrets—a pair of working safes for storing a couple’s secrets, accompanied by a plaque engraved with the above text and the artist’s contract stipulating how these mysteries will remain secured. Writing is often integral to Calle’s work, as in her 2014 triptych Suicide (also on view), in which photographs of dark ripples on the surface of black water are accompanied by text sandblasted on glass: “They say the police can distinguish between people who drown themselves for love and those who drown themselves for money…” Featured in this exhibition will be two series incorporating portraits from ‘ready-made’ sources and addressing themes of privacy and violence. Calle’s Cash Machine photographs are made from ATM video surveillance footage, and each work is exhibited as a sequence of two to eleven images. Collateral Damage, Targets is a series comprised of images of petty criminals’ mugshots, which were used for police target practice. The exhibition will be on view until December 24, 2015 at Fraenkel Gallery in San Francisco. photographs by Bradley Golden

Read Our Convo With The Devilishly Brilliant Marc Horowitz On Being The Weirdest Kid In School, Scatalogical Antics and His First Solo Art Show →

Marc Horowitz is a genius, but he may also be the devil. His work is satanically brilliant. Over the last ten years, Horowitz has performed riotous pranks that have taken on the form of conceptual art and mad marketing schemes that seem at times Bernaysian, but always dementedly creative. He has taken a mule to run errands in San Francisco, he started a semi-nudist colony, he has tried to convince the board of the Golden Gate Bridge to build giant fans to blow away the fog so tourists could take pictures and he spent an entire year of his life trying to have dinner with 30,000 people after he wrote his name and number on a whiteboard in a Crate & Barrel catalogue. And that is only a sliver of his antics. When the stock market crashed, he tried to bail out the banks with his artwork. Today, Horowitz will see the official opening of his first solo show at the Depart Foundation in Los Angeles. Click here to read the full interview.