- 11 am – 9 pm
- 11 am – 5 pm
- 11 am – 9 pm
“Where are the videos showing a woman in her role as sister—or protector, or economic head of family, or devoted daughter, or grandmother dignified in her old age?” In her Artist Op-Ed, Chilean hip hop MC and activist Ana Tijoux looks at la violencia del cuerpo en la musica: the objectification of female pop stars, which she likens to “visual punches: it’s about snatching away the very beauty of women.” More
While removed in time by four decades, the 1960s Fluxus movement and the social practice art of today hold much in common, says LA art historian Natilee Harren, including a shared focus on instruction. “The best social practice art exposes how our lives are scored, orchestrated, or performatively designed for better or for worse, in both utopian and dystopian fashions,” she tells curator Sarah Schultz. More
“A female shaman for the McLuhan age,” Juilliard-trained cellist Charlotte Moorman is best known as Nam June Paik’s formidable collaborator, often performing nude as she activated his avant-garde works. In this exclusive excerpt from Topless Cellist, art historian Joan Rothfuss explores the creation of Paik’s TV Bra for Living Sculpture, a send-up of the nation’s addiction to “electronic breastfeeding.” More
“A machine, a high-powered Porsche, hip-hop technology. She consumes everything around her.” In Ralph Lemon’s Scaffold Room, this is how Beyoncé is discussed—as an overwhelming force of capital that takes over our senses. With Lemon’s work as a jumping-off point, performer Okwui Okpokwasili recently met with scholar Saidiya Hartman to discuss the iconography and cultural consumption of black women’s bodies. More
Creating not objects but experiences, Tino Sehgal postulates that it’s possible to create art in a way that will not negatively impact the environment, produced through nothing more than the expenditure of human energy and exchanged sustainably in a free market system. His argument: that our current moment is not “an age of production of things,” but rather one of the “production of subjectivity.” More
For Mildred “Mickey” Friedman, curating design was less about acquiring objects than letting such artifacts tell stories within the galleries, “not for veneration but explication,” writes curator Andrew Blauvelt of Friedman, who passed away Sept. 3. As Design Quarterly editor and design curator for nearly 23 years, she consistently “drew upon the power of design itself to create a compelling experience.” More
In addition to curator Andrew Blauvelt’s reflection on Mickey Friedman, we’ve invited those who knew her best—including designer Abbott Miller, curator Ellen Lupton, and critic Martin Filler—to share their memories. Read them here.
“I’m engaged in presenting what’s in plain sight,” says Valerie Cassel Oliver of Radical Presence, a survey of three generations of Black artists exploring the “elasticity of disciplines.” “Even in the new millennium we’re still omitting certain people from those conversations.” In curating the show, she sought to include a “trajectory” of artists, from younger makers back to those who influenced them. More
Radical Presence: Black Performance in Contemporary Art is on view July 24, 2014–January 4, 2015.
“If you’re the head of an empire and see that an unarmed youth is gunned down by the police and your advice is for people to be calm,” writes Dread Scott in his essay on Michael Brown’s death, “your rule is illegitimate.” Taking his name from the slave who unsuccessfully sued the government in a St. Louis court, Scott salutes protesters in Ferguson while decrying those who aim to control them through force. More
Dread Scott, whose work is featured in Radical Presence: Black Performance in Contemporary Art, shares his perspective as part of Artist Op-Eds, an ongoing series of essays appearing online and in print-on-demand pamphlets.
Though news of the “million dollars worth of ‘invisible’ art” was a hoax, the story’s rapid circulation and accompanying responses highlight relevant issues in the art world: the ambiguity of what’s considered “art” and the inscrutability of the market.
Just months after Tom Finkelpearl left to become NYC’s cultural affairs commissioner, the Queens Museum has found its next director: Laura Raicovich, Creative Time’s director of global initiatives and former Dia deputy director, starts Jan. 1.
Richard Prince is selling canvas-printed Instagram “selfies” of celebrities and unknown people at the Gagosian, adding “commercial potency” to what made Instagram successful—allowing users “to know oneself as known.”
Artist Constant Dullaart has purchased 2.5 million fake followers to “equalize” certain accounts on Instagram. “Audience is a commodity,” he says, “they can be used to influence politics by supporting political causes online, and even add relevance to art.”
From 11:57 pm to 12 am all month, Ryoji Ikeda will cast “tightly synchronized, flickering black-and-white imagery mining data for mathematical beauty” on Times Square billboards. On Oct. 16, visitors can use one of 400 sets of headphones to take in his sound score.
Two months after seeing Tere O’Connor Dance perform BLEED and other works at the America Dance Festival, critic Lightsey Darst finds herself “still bobbing around in the wake of pleasure and thought.” More
Exhibition curator Valerie Cassel Oliver of the Contemporary Arts Museum Houston discusses the development of Radical Presence: Black Performance in Contemporary Art. More
“I never tried to do anything to make my films friendly.” From his start in Britain’s video art scene in the 1990s to his first feature film in 2008 to the Oscar-nominated 12 Years a Slave, Steve… More
Exhibition curator Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston (CAMH), is joined by contributing artists Adam Pendleton, Jacolby Satterwhite, and Xaviera Simmons for a lively conversation about the… More
This groundbreaking exhibition is the first comprehensive survey of performance art by black artists working from the perspective of the visual arts from the 1960s to the present. More
Drawn from the Walker’s extensive collection of artworks, films, archival materials, and ephemera, this exhibition explores the many facets of the so-called “expanded arts” scene of the 1960s and ’70s, charting a transformational phase in the history of 20th-century… More
A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists James Bridle, Liz Deschenes, Liam Gillick, Metahaven, and others.
In 10 chapters, curator Bartholomew Ryan presents his keystone essay “If You Are Willing: The Army of the Individuals” from the 9 Artists catalogue.
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In a rare 2009 conversation, Sturtevant—who passed away in May 2014—discusses her repetitions of works by Warhol, Beuys, and others, as well as the discourse on “dangerous potent power” of our cybernetic world. More
For her first art foray online, Jenny Holzer brought her iconic text-based work to the web in 1995, presenting five series of works (truisms, living, survival, inflammatory essays, laments). More
Philip Bither highlights some of Trisha Brown’s less-recognized but tremendously influential dance innovations, from aerial movement inventions to equipment-based performance. More