Art In America


Get Free: Music and Gender at MoMA PS1

The three afternoons of performances for “Between 0 and 1” attempted to convey the energy and sound of those spaces, featuring appearances by icons like Genesis Breyer P-Orridge and Terre Thaemlitz (DJ Sprinkles) and younger stars, like Elysia Crampton an…Read more


Ways of Listening: Arthur Russell at BAM

While Arthur Russell managed to release only several proper albums before his death from AIDS-related complications in 1992 at age forty, an ongoing effort to collect and release material from his genre-spanning oeuvre has created a sense of sustained rel…Read more


How She Survived: Jamie Crewe’s Playlist

Glasgow-based artist Jamie Crewe is the subject of the "First Look" column in our March issue. As Philomena Epps writes, Crewe's works "convey a fluid sense of cultural ancestry-one at odds with the established canon, which is heavily skewed toward binary…Read more


Reparative Infrastructures: In Conversation with N-Prolenta

Though best known as a musician, Brandon Covington Sam-Sumana is dedicated to a larger multimedia performance project called Black Hydra's Discharge Springs Forth Errantly From Her Many Mouths (2014-), which engages in a critique of the transatlantic slav…Read more

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Pussy Riot Realness

The Russian guerrilla performance group brings its message of radical feminism to U.S. television.    …Read more


From the Archives: Exhibiting Gender

In honor of Women's History Month, we looked back in our archives for this article by David Joselit from our January 1997 issue, in which Joselit appraises two exhibitions that approached the question of gender in different ways. …Read more


Feminism, Live: Debate as Theater

What might feminism's present learn from feminism's past? This question is especially urgent after the terrifying first weeks of Trump's presidency. Some answers may be gleaned from The Town Hall Affair, the Wooster Group's new theatrical production at th…Read more

Yuji Agematsu at Miguel Abreu
  • Robert Frank at Danziger Gallery

  • Sascha Braunig at Foxy Production

  • Elizabeth Jaeger at Jack Hanley

The Lookout

A Weekly Guide to Shows You Won't Want to Miss

This week we've got our eyes on Yuji Agematsu at Miguel Abreu; Robert Frank at Danziger Gallery; Sascha Braunig at Foxy Production; and Elizabeth Jaeger at Jack Hanley.…Read more


This exhibition of works that Rosemary Mayer made between 1969 and 1973—a period during which she and nineteen other women artists founded the cooperative A.I.R. Gallery, and a broadly fertile time for the New York art scene of which she was a part—demonstrated how she gracefully negotiated between Conceptualism and gauzy materiality, between structure and the ephemeral. It showed the artist, who died in 2014, experimenting in a handful of mediums, starting with text pieces and drawings and building up to arresting fabric-and-wood sculptures.

The presentation began with displays of paper-based work, including editions from 1967 and ’68 of 0 to 9, a mimeograph-printed magazine edited by Mayer’s then-husband, Vito Acconci, and her sister, Bernadette Mayer, to which she contributed formally spare drawings. Also shown h...Read more

Ken Price (1935–2012) wanted his ceramics to look like they were made out of color—and that was certainly the effect of those exhibited in the North Gallery of Hauser & Wirth’s impressive survey show. Displayed on plinths and softly spotlit, the sixteen pieces appeared intensely radiant, almost jewel-like. Even the earliest works, made before Price’s palette brightened up, were shown to be richly, delectably glazed: Avocado Mountain (1959) is a pockmarked hump slathered in various shades of lusciously grimy green, while an untitled work from 1962, a sort of sci-fi egg object, shimmers with moody, burnished hues. But for the true quintessence of color, it was the globular, biomorphic sculptures Price began making in the late ’80s that carried the day, and these made up the majority of works here. Building up layers of acrylic paint...Read more

Questions about how humans conceive of time underpinned Japanese artist Yuki Kimura’s CCA Wattis exhibition, her first solo show in the United States. The longwinded title, “Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2,” belied the sparse installation, which consisted of four artworks given ample breathing room in the large venue, a converted garage. The front space was occupied by Table Stella (2016): six tables arranged in three pairs, from large to small, whose tops each bear a constellation of vintage ashtrays and the same photographic image of a hospital room. The remaining three works were shown in the back of the venue. Table Matematica (2016) is a table whose glossy black surface supports a dizzying arrangement of Jägermeister bottles of different sizes. Mirrors (2016) is a pa...Read more

For the third edition of the Kochi-Muziris Biennale, Slovenian poet Aleš Šteger has created The Pyramid of Exiled Poets. Plastered on the outside with dried cow dung, the structure contains a dark labyrinth. As you make your way through it, doubting whether the ground will be there to meet your next step, you hear a cacophony of women chanting in different languages. Like the pyramids of Giza, Šteger’s monument is also a tomb, but instead of commemorating a political or divine authority, its walls enclose the words of poets who were exiled—Dante, Brecht, Brodsky, and others. The multilingual soundtrack makes it difficult to know what is being recited, but the desperation in the women’s voices makes it sound as if the chants are cries for help. 

The biennale showcases works by ninety-seven artists from thirty-one ...Read more

May 1990

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