The top of our homepage is blacked out today in solidarity with the J20 art workers’ strike. For information about the strike, as well as updates on protests and events around New York, follow us on Twitter and Instagram (@aianews). A selection of essays on art, protest, and community organizing is presented on the page below. ...Read more
This fall, MTL+ has transformed Artists Space Books & Talk into a vehicle for putting their strategy into practice within the context of larger movements. The residency’s title, Decolonize This Place, comes from a demonstration of the same name that MTL o…Read more
The art collective Black Quantum Futurism—Rasheedah Phillips and Camae Ayewa—is creating a different kind of time capsule in North Philadelphia. Under the title Time and Memory in North Philly, they are assembling a vision of life with the residents of a …Read more
by Erick Lyle
Budget cuts, the privatization of the commons, the dismantling of the social safety net, urban deindustrialization, and the loss of blue-collar jobs to factories overseas are among the well-documented effects of decades of neoliberal policy on American so…Read more
Simone Leigh's Free People's Medical Clinic (FPMC) was originally a community-based art commission for "Funk, God, Jazz and Medicine: Black Radical Brooklyn," a collaboration between Creative Time and the Weeksville Heritage Center. Here, the artist ref…Read more
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The Russian guerrilla performance group brings its message of radical feminism to U.S. television. …Read more
At her house in Havana, the activist artist reflects on her conscience-pricking performances, her anticapitalist convictions, her concerns for Cuba's future—and her many run-ins with the secret police.…Read more
There is justice in the world of the Yes Men. A spokesman for Dow Chemical accepted responsibility for the 1984 Bhopal disaster live on the BBC, the New York Times announced that the Iraq war ended in November 2008, and the New York Post editorial board f…Read more
Organized by Klaus Biesenbach and Margaret Aldredge, "Zero Tolerance" brings together an international ensemble of artists who investigate conflicts of freedom and control by documenting protests, demonstrations, civil disobedience and other well-established forms of popular political speech. Named for the restrictive policing philosophy whose implementation was pioneered in the 1990s (by NYPD Commissioner William Bratton, among others), the exhibition turns much of the first floor of MoMA PS1 into an archive of art's engagement with and participation in global resistance to authority—pushing back, as the press release would have it, on a worldwide wave of "draconian laws that restrict the rights of citizens under the guise of improving quality of life."
In an interview for The Creators Project, an art and culture website, Biesenbach described ...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.
What are the classificatory criteria we use to distinguish celebrities from politicos, the orbit of Hollywood’s heavenly bodies from the operations of elected officials on the ground? Or Ronald Reagan and Arnold Schwarzenegger from Angelyne the L.A. Billboard Queen, all entertainment personalities who made gubernatorial bids in California? Why did only the first two win the vote? Kathryn Andrews’s “Run for President” organizes itself around such questions, suggesting that the answers have much to do with the coordinates of race, gender and sexuality on which we map these distinctions and thereby determine legitimacy in the political field. Throughout the exhibition, she deftly traces a visual history of the intersections of electoral politics, media and mass spectacle.
Placing unlikely interlocutors from the archives of Hollywood and A...Read more
This exhibition of Roger Brown’s “Political Paintings” spanned the years 1983 to 1991. The works cover the crises that plagued the U.S. during that time, ranging from the savings and loan scandal to the collapse of the Soviet Union to the Gulf War. The compositions evince a cynical view of American politics, conveyed through cartoonish depictions of prominent political figures, silhouetted caricatures and carnival-style advertising banners.
Born in Alabama, Brown studied at the School of the Art Institute of Chicago in the 1960s, where he became a key contributor to the informal group of representational artists known as the Chicago Imagists. While several of the Imagists concerned themselves with politics and social justice in their work, Brown developed a distinct approach, combining a faux-naïf, comics-inspired visual style ...Read more
by David Kunzle
"The American Presidency in Political Cartoons: 1776–1976" is found ambitious in scope, misnamed and provocative.…Read more