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An upcoming Marina Abramović show about “nothing” at London’s Serpentine Gallery has found several prominent art historians and critics at odds with the artist and Serpentine curator Hans-Ulrich Obrist, the Guardian reported. The work’s concept carries significant art historical precedent, including John Cage’s 4’33” (1952), Yves Klein’s The Void (1957–1962), even a retrospective of “void”-related work at the Centre Pompidou in 2009, among others. David Joselit of the City University of New York, Frazer Ward of Smith College, and Yona Backer of the Lambent Foundation are among those objecting to the lack of attribution in the show’s literature.
Joselit, most recently author of After Art, told the Guardian that Abramović’s piece must “acknowledge this genealogy” of precedent works which address “The question of nothing. Doing nothing.”
The exhibition, titled 512 Hours, will see Abramović spending every day in blank Serpentine galleries during open public hours — 10am to 6pm six days a week — for a cumulative total of 512 hours. It is set to run from June 11 to August 25.
Nothing: the new buzz.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Unless you were already familiar with Bey’s documentary work, the horror he refers to might not be recognizable to you.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
Several members of the 2021 cohort identify as artists and storytellers, utilizing the power that art and narrative have on changing ideas of power.
Made possible by a donation from Amazon stakeholder MacKenzie Scott, the award is the single largest in the Bedstuy-based organization’s history.
A donation of two hundred works includes Jean-Michel Basquiat, Robert Mapplethorpe, Keith Haring, and Donald Baechler.