by Ruba Katrib
Following a path blazed by Duchamp, a host of current artists are using scents, atmospheric conditions, and microorganisms to create a new, multisensory rapport between viewers and artworks.…Read more
Science, like art, can problematize generalizations that have been held for hundreds of years.…Read more
by Cindy Nemser
Gordon Matta and Alan Sonfist represent the poles of a literally "organic" art that may grow as fast as the microbes, plants, molds and insects it puts to use.…Read more
Justin Brice Guariglia’s aerial photographs document the rapid rate at which 110,000-year-old Arctic glaciers are disappearing.…Read more
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Based on seven years of research, the Pacific Standard Time exhibition "Radical Women: Latin American Art, 1960-1985" forges a new significance for previously excluded artists.…Read more
Although distinct histories and current situations of each nation promote major artistic differences, Mexican photography seems to exemplify many of the major concerns of Latin American photography in general.…Read more
The art of German-born Canadian Ydessa Hendeles intersects with her parallel collecting and curatorial practices. Playing with the conventions of museum display with her arrangements of selected artworks, artifacts, and original sculptures, Hendeles interweaves personal narratives with complex histories of group identity and social exclusion.
Her retrospective at the Power Plant was titled “The Milliner’s Daughter.” This reference to the occupation of her mother, a Holocaust survivor, also conveyed the overarching concern with childhood that was evident throughout the exhibition. Through seven multipart works, each of which occupied an entire gallery or a transitional space (like the upstairs corridor or downstairs clerestory), Hendeles created a mercurial environment that alternately suggested a church, a co...Read more
Countless styles of NASTY WOMAN T-shirts, a Secret deodorant campaign focusing on women’s work-related stress, over four thousand results when you search for “feminist buttons” on Etsy—the evidence abounds that consumerism and feminism are more deeply entwined than ever. Brooklyn-based artist Mira Dancy’s recent exhibition of paintings, neon signs, and works on paper—which spanned Chapter NY’s two Lower East Side spaces—fit squarely into this entanglement. In the show, whose title, “Call NOW,” evoked the urgency with which we’re advised both to respond to infomercials and to telephone our senators, Dancy offered images of female empowerment alongside text components that highlight echoes between advertising and protest language.
The large-scale painting Her Sex // Her SayRead more
Brian Belott created a secular church to children’s art for his show at Gavin Brown’s enterprise in Harlem. He selected three hundred pieces from the over one million housed in the Connecticut storage unit belonging to the estate of educator and psychologist Rhoda Kellogg (1898–1987), and installed them salon-style on walls covered with custom wallpaper whose design he based on Kellogg’s tracings of children’s drawings. The figures the children had drawn, blown up to large scale on the wallpaper, towered like patron saints over the individual artworks. One wall featured dozens of Belott’s “forgeries” (as he calls them) of works found in Kellogg’s collection or in his own vast collection of books on children’s art, the images reading as homages by an adult longing to reconnect with the unfiltered energy ...Read more
Candy Jernigan (1952–1991) made art about overlooked or cast-off things, transforming ordinarily unlovely objects into images and sculptural works of great wonder and wit. In one of her best-known pieces, she turned hundreds of crack vials and caps she discovered on the streets of the East Village in the mid-1980s into a meticulously notated multicolored collage. The intimate show of her work at the Wattis Institute focused on her drawings, allowing her less sensational subjects and remarkable draftsmanship to take center stage.
The eighty or so drawings show Jernigan directing the same genuine curiosity to inhabitants of the natural world (dead bugs, leaves) as to the detritus of the modern metropolis (crushed cigarette packs, soda can tabs). Three small undated compositions depicting green bug-eaten leaves are uncannily real...Read more
Jimmie Durham offers a dialogue for which neither the Native nor the non-Native world is ready.…Read more