Forty-five years ago, A.i.A. produced a then-exceptional theme issue on art by and—to a much greater extent—about Native Americans. Here, that critical imbalance is redressed through multiple Indigenous perspectives on culture, art, environmental issues, …Read more
The new Indian has demanded to be reckoned with as a whole man, both politically and artistically. …Read more
by Vine Deloria, Jr.
No agency is more reviled than the Bureau of Indian Affairs. It is seen, by Indian and white alike, as the last great paternalistic bastion of government interference with the lives of private citizens. …Read more
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The Istanbul Biennial reflects the fear of hidden threats nearby while also leaving room to contemplate alternative ways of living together.…Read more
by Minh Nguyen
As a home base for the festival, Portland has a unique cultural character. Renowned for its progressivism and quaint urbanity, the City of Roses is also the whitest large city in the United States, and Oregon has the highest Klan membership per capita of …Read more
In the absence of official attention to the Russian Revolution's hundredth anniversary, art institutions have taken up the task of reflection and interpretation. …Read more
Thomas Trosch gained recognition in the 1990s for paintings that depict comically exaggerated society women chittering away in art-filled interiors, their dialogue conveyed in speech bubbles. For Trosch's recent exhibition at Fredericks & Freiser (his first solo show in New York since 2009), five large paintings from the '90s hung in the rear gallery. Musical Comedy Medley #7 (1996), which measures roughly six by five feet, was exemplary of this period. Five women with bulging eyes and immaculate, sculptural hairdos inhabit a setting that registers alternately as a boudoir, a poolside cabana, and a stage. At the top of the scene is a selection of trite phrases—such as which land is dreamier, arcadia or bohemia?—that suggest the figures are waxing poetic about life, art, and the pursuit of pleasure.
Of course, irony runs the risk of hardenin...Read more
Trafficking in pattern and precision, Veronika Pausova's paintings display arrangements of figurative motifs on flat, frontal planes. In the handsome if modest showing of the Toronto-based Czech artist's work at Simone Subal, eight oils on canvas (all 2017) occupied a light-flooded front gallery to propitious effect: ambient light redoubled the images' considerable pictorial luminosity, while the downtown building's viscera, notably the black pipes running at right angles overhead and protruding from the walls, accentuated the like forms that gave compositional structure to works such as Running Faucets and Hike to Sunken Dot. The setting helped highlight Pausova's near-architectural intuition for the placement of forms within and in relation to her framing edges.
In Tinted Rigs, alien-looking flowers in shocking blues and golden ye...Read more
In her hugely influential 1977 essay "Notes on the Index: Seventies Art in America," Rosalind Krauss identifies a category of contemporary artworks that function as "indexical signs." In plain language, such signs are physical traces of material processes: a photograph, an impression, a cut. Nearly all the forty-seven works in Mexico City-based artist Tania Pérez Córdova's first solo museum exhibition in the United States featured elements—a form cast from a mold, ash flicked from the end of a cigarette, ink leaking from a highlighter into a glass of water—that served as illustrations of Krauss's theory.
A Person Possessed by Curiosity (2015) was among a number of works that foregrounded traces of the digital financial systems that organize our lives. Pressed into the recessed center of an unglazed slab-clay platter is the i...Read more
To enter Rosy Keyser's twelve-painting show at Maccarone's Boyle Heights space, one had to pass a story-high Carol Bove grid sculpture in the gallery's side yard. The sculpture formally echoed neighboring buildings' paned factory windows and wrought-iron door grates, attuning this viewer to the three-dimensionality and underlying rectilinear structure of five paintings on view that Keyser made using wood-bead seat mats of the sort used by taxi drivers. The beaded cushions as well as bundles of string are variously twisted across exposed stretcher bars in these works, spilling into the viewer's space. The pieces are almost entirely absent canvas (the woven support appears in only one) and, like much of Keyser's previous works, can be considered both paintings and sculptures. In some, like Oh Gary Snyder, Where'd You Go? (all works 2017), Keyser painted the...Read more
by Dave Hickey
Dave Hickey tackled Land art with characteristic vigor in an essay for A.i.A.'s September-October 1971 issue. With occasional detours into country music and The Wizard of Oz, he speculated on what seeing Land art as a new form of landscape, and on what this reconfiguration of "ground" would mean the status of the art object. Along the way he slips in a provocative thesis opposing Pop art and Land art as the favored forms of two art-world ecosystems that were rapidly expanding in the sixties and seventies: galleries and magazines. …Read more