at the New Museum,
through Sept. 25
A somber library with spiral staircases and balconies and crammed with three thousand photographs of people and their teddy bears is at the heart of the New Museum’s sprawling summer show. Partners: The Teddy Bear Project, a 2002 installation by curator a…Read more
at Walther Collection Project Space,
through Sept. 3
526 West 26th Street
Lovers of the work of Mali’s much-honored photographers Seydou Keïta (1921–2001) and Malik Sidibé (1935-2016) may be in for a shock upon entering this show, titled “Who I Am: Rediscovered Portraits from Apartheid South Africa.” Could it be that what seeme…Read more
at MoMA PS1,
through Aug. 31
22-25 Jackson Ave
Cao Fei’s videos run on hopeless fantasies and unfulfilled promises, showing social arrangements that mirror our own globalized economy of schemes and dreams. Her mid-career retrospective at PS1 features dystopian works whose characters seem to have woken…Read more
Reviews from the magazine
at Toyota Municipal Museum of ArtOnce upon a time, in the mid-’90s, contemporary art and more academic fine art were still on good terms in Japan. Mono-ha and abstraction were living traditions, allowing artists to wax metaphoric about materials and process without sounding precious. Grand philosophical themes like mankind’s relationship to nature and technology were mused upon expansively. Art was humanist, and without a market or much of an audience.
at Pennsylvania Academy of Fine Arts
by Serena QiuNorman Lewis (1909–1979) was an energetic participant in the Harlem Renaissance and one of the only African-American painters who associated himself with the Abstract Expressionists. While he founded the Spiral Group (active from 1963 to 1965) with Romare Bearden, Charles Alston, and Hale Woodruff to explore the place of black artists in the Civil Rights Movement, he stated on many occasions that his aesthetic goals were separate from his activism.
at Künstlerhaus StuttgartOccupying two floors of the Künstlerhaus Stuttgart, this exhibition encompasses works on paper, including porn photo collages, as well as films both short and long. It is the second part of an exhibition that began, with somewhat different content, at the CCA Wattis Institute for Contemporary Arts in San Francisco and will have an afterlife in Stuttgart this September in a screening of Pinochet Porn, the film that the late Ellen Cantor (1961–2013) spent the last eight years of her life working on.
at Essex Street
by Sam KormanFor small galleries, unadorned overhead fluorescent lighting is the industry standard. It’s cheap, efficient, bright, and balanced, creating a relatively neutral viewing environment that allows for clear exhibition photography. The even glow of such lighting has become the hallmark of galleries on New York’s Lower East Side, which, though modest in scale, are able to extend their ambition and influence nationally and internationally via exhibition documentation on the internet. As such, the lights have also come to represent the standardizing influence of image-sharing economies on the international art market.