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New Museum

Girl Power Is Back: Top 10 Shows For Women In 2016

by Emily Colucci on December 21, 2016

Despite the misogynistic horror of Donald Trump’s campaign and eventual election victory, 2016 was a great year for women in the art. There were compelling solo exhibitions by women artists in major institutions, a copious list of all-women group shows and dynamic revivals of unfairly overlooked female artists’ careers. It seems like 2016 marked the return of much-needed 1990’s-style “girl power.”

Granted, there’s still a long way to go for equal representation, particularly for women artists of color. But, hopefully, this is just the beginning. To celebrate this year’s exciting and timely return to feminism, I selected the ten best shows featuring women in 2016. Results below:

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Covering The Waterfront: The Dumbo Gallery Round-Up Part 2

by Emily Colucci on October 7, 2016

Following the first part of my DUMBO gallery round-up, I concluded my waterfront adventure by visiting A.I.R. Gallery and Art In General. More on my trip below:

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NEW INC’s “Public Beta” Showcase Is Incubating Something Weird

by Rhett Jones on July 29, 2016

It’s been about 35 years since we were first promised a viable, commercial virtual reality headset. The time for that promise to be fulfilled seems to be upon us with major technology companies going all in on the research and infrastructure that will be necessary to make it happen both as a technology and a product.

NEW INC, the New Museum’s ambitious effort to fuse artist residencies, coworking spaces and business incubators into one singular program, has had two years to become a fully-formed innovation. It’s tough to say whether that’s happened yet, but the latest “Public Beta” (on through July 31st, part 2 will run from August 4-7th) is certainly different than any exhibition going right now and indicates that what’s to come could be a weird and original niche between several disciplinary worlds.

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Hoarding For History: “The Keeper” At The New Museum

by Emily Colucci on July 22, 2016

I wonder what the crew of A&E’s guilty pleasure Hoarders would say about the New Museum’s recently opened exhibition The Keeper. With four floors of artists’ obsessions, the collecting impulse on view is more manic and compulsive than merely an academic archival interest. In fact, the exhibition looks a lot like the aftermath of a Hoarders Anonymous meeting.

Before attending the group exhibition, I expected the show might too easily and predictably engage with the current archival trend in contemporary art. I’m so glad I was wrong–I wasn’t looking forward to donning white gloves to paw through precisely organized archival boxes.

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This Week’s Must See Events: Benefits, Boom Boxes and Bears

by Rhett Jones on July 18, 2016

It’s a light week for galleries that’s heavy on screenings. That’s just life in the middle of July. But fear not, these screenings are good. We’ve got some demented digital video art from Jacob Ciocci and a MoMA retrospective that promises to shed some light on modern New York. Two excellent online galleries have joined forces to go IRL and there’s a boom box party at the Brooklyn Museum.

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Friday Links: Creation and Gentrification

by Rhett Jones on July 15, 2016

dope_smokin_lowline

The Lowline, a controversial project that plans to create a bizarre underground park in the Lower East Side, has gained its first official approvals from City Hall. For its detractors, the park represents another step towards gentrification. For its supporters, the park is a way of opening up public space in a dense area of the city. For Alicia Glen, deputy mayor for housing and economic development, its “some crazy, smoking-dope stuff.” She likes it. [Curbed]
Activists in Boyle Heights, a rapidly gentrifying neighborhood in Los Angeles, want the art galleries to pack up and get out. The organizers view the gallery owners as pawns in “planners and politicians and developers” efforts to “art wash” gentrification. Some gallery owners are upset, while others are attempting to join in the dialogue. We’ll keep an eye on this story as it develops. [LA Weekly]
A 91-year-old woman was arrested at the Neues Museum Nürnberg on Thursday. Charges of vandalism were related to the fact that she “solved” a crossword puzzle that was part of a work by the Fluxus-artist Arthur Köpcke. Something tells us the Fluxus people would like this story. [artnet News]
The New Museum’s newest show, The Keeper, is an attempt to explore why we collect things. It’s packed, floor-to-ceiling with 4,000 objects from two dozen collections. It opens next Wednesday. The Times talks to the curators about this unusual show. [New York Times]
Check out the convoluted history of the McDonald’s “I’m Lovin’ it” jingle. It’s fascinating that even people that worked on the campaign at a high-level don’t seem to know for sure who wrote it. [Pitchfork]
Hyperallergic breaks down some OKCupid data. Among the findings: liberal artists don’t think orgasms are the most important part of sex. It’s all about the journey, not the destination. [Hyperallergic]
We know surprisingly little about NYC’s rat population. For instance, it’s estimated that there are somewhere between two and 32 million rats in the city. We’re just not sure. Researchers have begun to chip and surveil them, hoping to get a better understanding of how they operate. The end goal is to find more effective methods of control. [Motherboard]

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The Great Firewall of GIFs: Miao Ying’s Chinternet Plus

by Michael Anthony Farley on July 8, 2016

Currently featured as part of the New Museum’s First Look: New Art Online series, Miao Ying’s “Chinternet Plus” takes on Chinese web censorship, corporate aesthetics, and propaganda with the power of .net art.

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Is 2016 the new 1994? Feminism in the Art World

by Emily Colucci on May 26, 2016

Is recent art history repeating itself? An increasingly long roster of new all-women group exhibitions and their corresponding press seem to suggest so. From blue-chip stalwarts Hauser Wirth & Schimmel and Saatchi to smaller project and artist-run spaces to last night’s Marc Straus opening If Only Bella Abzug Were Here, are all-female group shows an indication of a permanent commitment to gender equality in the art world or is it just another doomed-to-disappear trend?

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Wednesday Links: Faking It to Make It

by Paddy Johnson Michael Anthony Farley Rea McNamara on May 11, 2016

Within a 48 hour news cycle, Los Angeles-based band/romantic duo YACHT announced a private sex tape they made was leaked, then said they were going to take ownership and release the tape on their own website, and now it appears the whole situation was just an elaborate X-Files-esque alien sex hoax to promote their new music video. We have a lot of respect for singer Claire Evans — she contributed a great reading list to our Geographically Indeterminate Fantasies show — and the band has a history of trolling clickbait journalism. But given how prevalent revenge porn is online, was it gross for them to pose as victims and prey on our sympathies? Or was this fictionalized narrative no different from what’s seen on the Kardashians? [Pitchfork, Jezebel]
Last night’s results of Christie’s contemporary auction was a reassuring one for the New York art market. The sale totalled $318 million, with over 87% of the lots sold. Reserves were kept low, gaining praise from the auctioneer for being “tight, curated and profitable.” A highlight of the auction records set for artists like Mike Kelley and Agnes Martin was a Basquiat top lot (the 1982 work, “Untitled”) selling for $57.3 million (it was originally estimated at more than $40 million). [The Baer Faxt, The Art Newspaper]
The Trustees, Massachusetts’ conservation nonprofit, has announced a two-year public art initiative that will kick off this summer with commissioned outdoor installations by Jeppe Hein and Sam Durant. [Boston Globe]
Intersectional feminist dialogues went into overload over bell hook’s gripes with Beyonce’s Lemonade. There’s a smart critique in here about Beyonce’s visual album being a commodification of the black female experience. But that’s kind of a “well, duh” point, and I [Rea] can’t help but feel as if hook is kind of Camille Paglia in her second wave dismissal of pop culture, not to mention low-key transphobic in judging black femme feminists. [bell hooks institute, Janet Mock’s Facebook]
The New Museum will be expanding its Bowery footprint. The museum announced yesterday it has raised $43 million towards a $80 capital campaign to renovate it 231 Bowery neighbor and connect it to its current building at 235 Bowery. [New York Times]
Carolina A. Miranda thinks the new Eva Hesse documentary is the full-blown biography the ambitious artist has long deserved. [Los Angeles Times]
An art loving mechanic in France has scored a Renoir for $700. [artnet News]
On the occasion of their pop-up show of cheap multiples at Printed Matter, members of Colab reflect back on their groundbreaking artist-led projects from the 1980s, including the Times Square Show. [Hyperallergic]

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