Marisol: the forgotten star of pop art
10 May 2016 • Syndicate
Once as famous and influential as Andy Warhol, the artist, who has died aged 85, fell into obscurity – but her enigmatic work is sure to be rediscovered and endure
Tag: Jason Farago
Revolution in the Making review – unspooling an alternative art history
23 March 2016 • Syndicate
Hauser Wirth & Schimmel, Los Angeles
In its enormous new LA space, the commercial gallery has staged an inaugural exhibition comprised solely of sculptures by female artists, making a case that the classtic story of art after modernism is sexist and incomplete
REVIEW: Art Basel Miami Beach – art and commerce collide by the sea
6 December 2015 • Mark Westall
It’s the western hemisphere’s biggest and most ostentatious art fair, and if you can get past the bling there are gems to be seen, many hailing from Latin America
Takashi Murakami review: a welcome return to a more disturbing style
13 November 2014 • Mark Westall
His collaborations with Kanye West and Louis Vuitton have made him rich and famous, but the Japanese artist’s new works, inspired by Fukushima, are more than gaudy trinkets for the super rich
Frieze New York turns two with a giant balloon dog and a VIP-free speakeasy
11 May 2013 • Mark Westall
The second edition of the art fair has its own restaurant scene, an inflatable dog that mocks Jeff Koons and a gratifying number of female artists
Bernadette Corporation: ‘Don’t have sex with each other’
25 March 2013 • Mark Westall
New York art provocateurs Bernadette Corporation tell Jason Farago the key to running a successful collective: dress for work, learn proper manners – and keep your hands to yourself
Armory Show aims to raise the bar amid threat from younger rivals
7 March 2013 • Mark Westall
New York’s largest art fair celebrates 100th birthday, but success of competitors places Armory in something of an identity crisis
Frieze New York review: more glitz, less grit, as art fair moves stateside
4 May 2012 • Mark Westall
It’s all business at the Manhattan edition, and provocations of the type London audiences have come to expect are not in evidence