From the category archives:

Reviews

Cate Blanchett Is Possessed By 20th Century Artists In Julian Rosefeldt’s ‘Manifesto’

by Emily Colucci on January 5, 2017
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Manifestos don’t age well. This became clear as Cate Blanchett, playing twelve different characters, channeled some of the most notorious artist manifestos of the 20th century in Julian Rosefeldt’s Manifesto at the Park Avenue Armory.

And yet, the installation succeeded not in spite of the manifestos’ irrelevancy, but because of it. The show compellingly reveals the universal drive to replace previous generations’ achievements with the fiery ideals of younger artists. There’s something reassuring about this continual cycle of rejection and innovation, as well as the inspiration viewers can still find within past manifestos.

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No Fear: Macon Reed at ICA Baltimore

by Michael Anthony Farley on December 15, 2016
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In her new show Who’s Afraid of Magic? Macon Reed present a playful DIY-meets-high-femme body of work about witch hunts, misogyny, and violence.

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Rob Pruitt Measures Obama’s Legacy In Paintings At Gavin Brown’s Enterprise

by Emily Colucci on December 14, 2016
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Sometimes an artist’s project is so timely that it doesn’t matter if the concept is hokey. Nowhere is this more apparent than in Rob Pruitt’s The Obama Paintings, which is currently on view at Gavin Brown’s Enterprise.

Starting with Obama’s inauguration in 2009, Pruitt embarked on an eight-year long project to paint Obama every day of his two-term presidency. These red, white and blue-toned works might look cheesy in another political moment. But, in the context of the looming Trump administration, The Obama Paintings provides a meaningful opportunity to reflect on Obama’s presidential legacy, as well as the forthcoming exit of this empathetic and considerate leader. I’ll admit, I got a little choked-up in the gallery.

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Pipilotti Rist at The New Museum: Feel-Good Feminism

by Paddy Johnson on December 9, 2016
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Feminism isn’t easy to pin down. It’s a social movement that shares a common goal: to define, establish, and achieve political, economic, and social rights for women. It’s famously defined by waves (first, second and third) that only a few of us can fully explain without referencing Wikipedia.

For me, feminism is characterized less by the social movement it describes, than by woman who chose for themselves what they like, what they want, and who they are. It’s simple, and that’s part of why I like it. It’s inclusive, and it can be fun, pleasurable and charming—all qualities of the most infectious and influential kinds of movements.

As it happens, this is exactly the strength of “Pipilotti Rist: Pixel Forest”, the New Museum’s 30 retrospective of the artist’s videos curated by Massimiliano Gioni.

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Do The Divisions Between Artist, Writer and Activist Matter Post-Election?

by Emily Colucci on December 9, 2016
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What is an artist’s role in activism? A panel at e-flux on Tuesday night explored the question many in the arts community have been wondering since Trump’s election a month ago.

The panel What Now: The Artist-Writer As Activist-Critic not only considered artist writing as a form of sociopolitical and institutional critique, but it also took a more expansive look at the intersection of art and activism. And this focus struck a nerve. Even on a rainy and miserable evening, the event space at e-flux was filled to capacity with over 70 people searching for a way forward in the forthcoming Trump administration.

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I Went To The Jewish Museum’s “Take Me (I’m Yours)” And All I Got Was This Stupid T-Shirt

by Emily Colucci on December 7, 2016
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A loud, tacky sign emblazoned with “Everything Must Go” would not feel out of place in the Jewish Museum’s current exhibition Take Me (I’m Yours). A rack of plastic goodie bags branded with the exhibition’s title hang in the show’s entrance, encouraging viewers to fill up on artist-made pins, T-shirts, used clothing, candy and a 25-cent ball of air from Yoko Ono. With this free-for-all curatorial style, the exhibit looks more like a display of samples than a contemporary art show.

That’s a bad thing. The whole show feels like a gimmick designed to lure people in the door by offering them free swag. Meanwhile, the Museum is presenting the idea that they are challenging the traditional relationship between art and its viewers, which not only isn’t true (it’s been done to death), it distracts from the sociopolitical critiques made by many of the artists in the show. Simply put, the show is a disaster.

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UNTITLED: Bright Lights, Dim Content

by Paddy Johnson on November 30, 2016
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Evidence that the election results have had any impact on the art fairs were scant at best yesterday. Artist Jason Lazarus told me he kept hearing that this was the year artists would skip, but as I walked around UNTITLED., I didn’t notice any fewer artists then usual. I witnessed plenty of sales, though, and the dealers mostly seemed pleased. Collectors are aware of their upcoming tax windfall.

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With Art As My Witness: Carrie Mae Weems at Jack Shainman Gallery

by Emily Colucci on November 23, 2016
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I often hear the platitude that art thrives when artists are forced into action by life or death necessity. But, what might this new politically engaged art actually do to combat racism, xenophobia, misogyny and a host of other threats that have already appeared well before Trump’s inauguration?

Carrie Mae Weems’s two current exhibitions, on view at both Jack Shainman galleries, seem to offer an answer: art can act as a witness. In the dual shows, Weems shines a light on violence, institutional silence, judicial ignorance and black underrepresentation. This is seen most vividly her gut-wrenching take on the killings of unarmed black men and women by police in the 24th street space. Not all the pieces in Weems’s shows force viewers to witness these crimes, but those that do drag these issues into view for a Chelsea art audience, rendering a passive and apolitical viewing experience almost impossible.

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Carolee Schneemann’s Body Is A Battlefield At PPOW Gallery and Galerie Lelong

by Emily Colucci on November 21, 2016
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A week after the election, women’s bodies are a battleground yet again. Donald Trump hinted at overturning Roe v. Wade on 60 Minutes and Paul Ryan thought birth control was a “nitty-gritty detail” of the dismantlement of the Affordable Care Act. This isn’t even taking into consideration the pussy-grabbing rhetoric of the campaign. With President-elect Trump and a Republican majority in Congress, women–like many diverse populations–feel newly under siege.

This danger to women’s health and civil liberties inadvertently breathes new life into art that engages with the female body and its subjugation. While using the body, in the recent past, may have felt like Feminism 101, art now needs to reflect and reject this patriarchal threat. Feminist art stalwart Carolee Schneemann achieves just that in her dual exhibitions Further Evidence–Exhibit A at PPOW Gallery and Further Evidence–Exhibit B at Galerie Lelong. In these dual shows, Schneemann depicts the female body as contested, controlled and imprisoned. And it couldn’t feel more timely.

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Alex Da Corte Takes On The Founding Fathers In ‘A Man Full Of Trouble’

by Emily Colucci on November 17, 2016
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Now that the country has elected a threatening Wizard of Oz figure for president, any art that takes aim at the myth of American exceptionalism feels pretty relevant. The democratic dream created in 1787 looks a lot like a nightmare in 2016. And with the news of White House staff and potential Cabinet appointments reading like a list of supervillains, it’s refreshing when art can articulate a pointed skepticism of America’s promise.

Alex Da Corte’s A Man Full Of Trouble at Maccarone provides some of that much-needed critique. The work here launches a timely reassessment of America through a combination of its storied colonial past and its kitsch-filled, worn out present.

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