In a bracing essay from A.i.A.'s June 1993 issue, the influential thinker bell hooks analyzes the work of Jean-Michel Basquiat as a form of sacrifice: his ritual offerings were the parts of himself that had to be repressed and erased to win success in a white-dominated art world....Read more
From his poignant response to the Watts Uprising to his contemplative work in Joshua Tree, "junk art" virtuoso Noah Purifoy was a guiding figure for generations of African-American artists. …Read more
"Black Male: Representations of Masculinity in Contemporary American Art" was a landmark exhibition at New York's Whitney Museum of American Art organized by curator Thelma Golden in 1994. Art historian Linda Nochlin lauded the show in our March 1995 issu…Read more
Vocalist and performance artist Meredith Monk, an icon of New York's experimental downtown scene, discusses the beliefs and techniques that have kept her a galvanizing figure for five decades.…Read more
In our September–October 1971 issue, Bessie-Award-winning dance critic and choreographer Deborah Jowitt describes "the new dance," a group of young dancers—including Yvonne Rainer, Merce Cunningham, Twyla Tharp, and Monk—who adopted a Minimalist aesthetic…Read more
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In a two-channel video installation in MoMA PS1's "Greater New York," Sondra Perry, a Columbia University-trained artist now in residence at the Museum of Fine Arts, Houston, explores domestic rituals—some traditionally African-American, some newly contri…Read more
I spend a lot of time on YouTube and in my everyday life, walking around wearing headphones, thinking up plots for music videos. A part of my practice involves sampling elements of films, stock footage and songs. Over the years I have amassed an archive o…Read more
Mary Beth Edelson at David Lewis
“Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965” at Grey Art Gallery
Martha Friedman at Andrea Rosen Gallery 2
This week we've got our eyes on "Self-Interned, 1942: Noguchi in Poston War Relocation Center" at the Isamu Noguchi Museum; Mary Beth Edelson at David Lewis; "Inventing Downtown" at Grey Art Gallery; and Martha Friedman at Andrea Rosen.…Read more
“All artists are alike,” Dan Graham once said. “They all dream of doing something that’s more social, more collaborative, and more real than art.” Few contemporary artists, however, have followed this desire to act outside the narrow confines of the art world as far as Edi Rama who, since 2013, has held the unusual day job of prime minister of Albania. Rama began his artistic career in Albania during the repressive regime of Stalinist dictator Enver Hoxha and continued it in Paris after communism collapsed. He returned to Tirana in the late 1990s when he was asked to serve as the Albanian minister of culture, a position he held for two years. He subsequently spent more than a decade as the mayor of Tirana, during which time he notoriously had the facades of buildings around the city painted in a range of brigh...Read more
In past works, Iris Häussler has subsumed her identity in fictional artistic personae. Presenting “The Sophie La Rosière Project” (2009–) in concurrent exhibitions at the Art Gallery of York University (AGYU) and Scrap Metal, she dispensed with the ruse and disclosed her authorship up front, weaving an immersive fiction with historical facts.
At each location, a chronology sketched out the life of Sophie La Rosière, a fictitious avant-garde artist born in 1867 in the Parisian suburb of Nogent-sur-Marne. (At AGYU, the timeline did not distinguish invention from historical information, but at Scrap Metal facts were printed in gray and the rest of the story was in black.) Häussler locates La Rosière’s death in 1948 at a real senior home for artists, which was established by actual people, the French sisters ...Read more
The eleven works on paper in Mónica Palma’s first solo show are pared-down abstractions that reflect, almost paradoxically, the dizzying entanglements of contemporary life. Palma’s slow, repetitive process results in much-handled drawings whose cloudy monochrome fields are interspersed with sudden disruptions. Creases and folds crisscross the paper, and small stones have been glued onto several of the pieces. Selected from four large bodies of work made between 2011 and 2016, the drawings appeared to float on the walls, seemingly without mounting hardware, curving gently where they had been crumpled and smoothed out.
In an artist’s statement, Palma describes her work as “syncretism experienced as synesthesia,” and it is this alchemy—her many experiences channeled through a multisensory physical practice—that lo...Read more
In 1953, the United States opened a new embassy in Havana. Designed in a modernist style that departed drastically from earlier diplomatic buildings, the structure, which still stands today, has a glass facade and inviting lobby that were intended to express transparency and cooperativeness. The embassy would be fully operational for just eight years. In 1961, in the aftermath of the Cuban Revolution, the US sent its diplomats packing. The curious history of the building, which regained some diplomatic functions under Jimmy Carter’s administration and finally reopened as an embassy in August 2015, was the focus of Terence Gower’s recent solo exhibition “Havana Case Study,” his first show at Simon Preston Gallery.
Much of the presentation revolved around a single feature of the building: the ambassador’s large and consp...Read more
On the occasion of the traveling retrospective "Jimmie Durham: At the Center of the World," currently at the Hammer Museum, Los Angeles, through May 7, we looked back in our archive for this 1993 feature on Durham by Lucy Lippard. The Cherokee artist's work contests derogatory stereotypes of Native American art and culture.…Read more