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Wangechi Mutu

Black Is and Black Ain’t in Pace Gallery’s “Blackness in Abstraction”

by Emily Colucci on August 18, 2016
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“Black is and black ain’t.” Walking through Pace Gallery’s current exhibition Blackness in Abstraction, I began to think about that title line from Marlon Riggs’s final film—taken from the prologue of Ralph Ellison’s novel Invisible Man. Even more than the pervasive “Black is beautiful,” this curiously ambiguous phrase hints at the multitude of meanings, voices, and questions surrounding blackness in the exhibition.

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We Went to No Man’s Land: Women Artists from The Rubell Family Collection

by Paddy Johnson and Michael Anthony Farley on December 21, 2015
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At the Rubell Family Collection, dozens of contemporary women artists working in every conceivable medium left us very impressed.

Michael: Here, the blue-chip market and a private collector managed to accomplish something many institutions or independent curators haven’t—presenting an all-female show that feels as if it has nothing to prove.

Paddy: I still can’t get over how many monumental art works in this show so effectively dominated the space that you’d literally feel awestruck by their presence.

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Tuesday Links: Bullshit Still Stinks When The Wind Blows

by Paddy Johnson on September 3, 2013

Wangechi Mutu, (Photo: Christopher Anderson/Magnum Photos/New York Magazine)

  • Manifesta 10 issues a bullshit statement of epic proportions in response to a petition calling on the organization to relocate its moving biennial from Russia. The move would be in protest of the country’s new anti-gay laws. Manifesta’s response: “Manifesta 10 will investigate these 25 years of changing realities and experiences as they have transformed within this new global world order.” There’s more where that nonsense came from. Long story short, they’re not moving the biennale because they think a convo would be better. [ArtINFO]
  • Thomas Micchelli has some doubts about the idea that Maurice and Paul Marciano Art Foundation has been built out of any sense of civic responsibility. After all, their clothing company behemoth, Guess, moved 40% of its production from Southern California to Mexico. [Hyperallergic]
  • Art news continues to be defined by authentication issues and lawsuits over famed works of art. So what’s the latest? The Archive for Metaphysical Art has challenged the work of Giorgio and Isa de Chirico Foundation “because of the arbitrary… nature of many of the judgements made by… the organisation that holds the artist’s copyright.” Turns out de Chirico backdated his paintings from about 1933 on because those paintings were more in demand. [The Art Newspaper]
  • “The Post will have “readers at its centerpiece.” says Amazon CEO and new owner of The Washington Post Jeff Bezo. “I’m skeptical of any mission that has advertisers at its centerpiece. Whatever the mission is, it has news at its heart.” Sounds like Bezo’s not interested in the Buzzfeed model. [The Washington Post]
  • William R Polk lays out this Syria business step by step. He’s skeptical that Assad used chemical weapons. [The Atlantic]
  • Wangechi Mutu gets a profile in New York Magazine in anticipation of her retrospective that began at the Nasher and will travel to the Brooklyn Museum. I saw the show there; don’t get too excited. It’s art that likes to beat its message into you. [New York Magazine]
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