On Twitter, Facebook, or Instagram, the museum becomes one of many users, just like the individuals who visit it. Taking advantage of the communication opportunities offered by social media requires accepting a diminishment in status-but this, too, can have surprising benefits. ...Read more
by Zach Sokol
Fortnight Institute, a nonprofit space in the East Village, has an area of less than four hundred square feet, but that's enough for visitors to Chris Oh's solo exhibition "Plays" to behold canonical Renaissance and Baroque works perfectly recreated on an…Read more
A number of museums—the MCA Chicago, the CCA Wattis Institute, the Aspen Art Museum, and others—have opted for flexible, frequently changing website designs that reflect the vital nature of the art they present. …Read more
As I downloaded the San Francisco Museum of Modern Art’s new visitor app to my phone, I paused to savor my final moments of one particular innocence. In three decades of museum-going, I had never downloaded a museum app before. I hadn’t even used an audi…Read more
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by Gean Moreno
What should citizens—especially art professionals—do in response to rising sea levels and other ecological threats in socially fragmented Miami?…Read more
When Hurricane Sandy hit New York City in 2013, it flooded downtown Manhattan, parts of Queens, and Staten Island. An electrical substation exploded, cutting power to Lower Manhattan, and shipments of gas from New Jersey ground to a halt. Gas stations wit…Read more
For some forty years, Mierle Laderman Ukeles has striven—through artworks, performances, and manifestos—to bring greater recognition to women's domestic labor and the underappreciated services of New York City's Sanitation workers. Yet even she, the autho…Read more
Toba Khedoori’s intricate renderings of decontextualized architectural spaces on wall-size swaths of wax-treated paper exist in a liminal state: they are highly detailed and precise, yet remain reticent and shrouded in mystery. The Australian-born, Los Angeles–based artist’s survey of twenty- five works at the Los Angeles County Museum of Art ranges from pieces dating to her time at UCLA, from which she received an MFA in 1994, to paintings made in 2015.
Most of Khedoori’s early drawings are about eleven feet tall and twenty feet wide—a scale made possible by the expansive studio she had at the time in Inglewood, California, which she occupied for nineteen years. At LACMA, the drawings are stapled to the gallery walls, their roughly cut edges curling up and their wax surfaces beginning to yellow. ...Read more
The eerie prescience of Jennifer and Kevin McCoy’s recent show at Postmasters was brought home in the wake of the presidential election, as protesters converged night after night in front of New York’s Trump Tower. At the center of the exhibition was a twenty-eight-minute video (BROKER, 2016) filmed at a different Trump-branded “super-luxury high-rise” a few avenues east and set entirely within a seventy-seventh-floor model apartment, sections of which the McCoys re-created in miniature for the exhibition. Displayed alongside these works was a series of sculptures cast from broken pieces of high-end glassware, which the press release described as “artifacts from after the revolution,” referring, presumably, to a time in the future when the masses have stormed the properties of the wealthy.
When Edgar Arceneaux’s survey of recent installations opened during the final weeks of the 2016 United States presidential campaign, it was one of those times in which it’s best to look to artists for difficult truths. Arceneaux’s immersive, theatrical works reveal complex, lost storylines of the post–civil rights era United States and cast us as witnesses to the lies, redactions, iconizing, and forgetting that has shaped this country, particularly the lives of African-Americans.
The exhibition, titled “Written in Smoke and Fire,” begins with Library of Black Lies (2016), a large pinewood shack set in a darkened gallery. Entering the installation, one finds shelves of chaotically strewn books that create a narrow, labyrinthine path. Many books are sealed shut with crystal...Read more
For her first exhibition at Dominique Lévy, “Situational Diagram,” Karin Schneider filled both floors of the gallery’s Upper East Side town house with variations on the theme of the black monochrome. For these works (all 2016), Schneider employed a set of specific processes—splitting, cancelling, obstructing, monochroming, extracting, and naming—that conjoined historical forms of abstraction to structuralist theories of power and subjectivity, as elaborated in an eighteen-page exhibition guide containing dense exegeses by the artist on each category. Here, Schneider inverted the conventional relationship between the artwork and its explanatory supplements: the works were not self-sufficient aesthetic objects but rather pointed the viewer to the concepts described in the texts. As a result, the exhibition functioned less like ...Read more
On Sunday the Queens Museum opens "Mierle Laderman Ukeles: Maintenance Art," a retrospective covering nearly fifty years of work. Ukeles pioneered art that addressed urban infrastructures and labor conditions in ways that have since become common but were unheard of when she became the artist-in-residence at New York's Department of Sanitation in 1978.…Read more