As a photographer, my gaze ends up deposited in images that are part diary, part autobiography, and part documentary of my perception of a world that revolves around me. This year I will publish my first book, Williamsburg: A place I once called home, a personal narrative about this particular Brooklyn neighborhood that I knew when I arrived in 1994. Williamsburg, before it was gentrified, was a place of desolate streets, closed factories, and run down buildings, where young people, many of them artists, came to live affordably.
For the past two years I have been photographing a new generation of artists, spectators and performers that have now moved beyond the borders of Williamsburg to Bushwick and beyond, in search of their own safe spaces and affordable living.
My ongoing project High Voltage became my energy source, my road to understanding a generation that has the desire to change the power balance through direct intervention on reality — giving more importance to creation and participation and less to the finished product.
As I went deeper into photographing my subjects I found a common thread between performers and spectators: they veered toward extremes to provoke themselves to confront social norms by giving themselves over to sexual and visual ways of participating.
Over time, my project has turned into an ongoing reflection of a generation alarmed by the rise of a new Puritan religious social movement that is imposing restraints on sexual expression, contraception, abortion, gender and sexuality — sharply restricting the freedom of individuals.
This is their way of challenging the rules of law and defending personal freedoms, now more then ever under fire.
Most of these events take place in theaters or performing art spaces with few rules or limitations — now safe havens for performers and spectators alike.
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
The artist couple shared creativity and mutual devotion reflecting a period of light and joy that came after considerable darkness in their early lives.
Conversations with Leslie Barlow, Mary Griep, Alexa Horochowski, Joe Sinness, Melvin R. Smith, and Tetsuya Yamada will be accessible online or in person at the Minneapolis College of Art and Design.
The plot of Maureen Fazendeiro and Miguel Gomes’s film moves backward in time, continually recontextualizing what at first looks like a simple situation.
It’s art fair season and we’re here to comfort and entertain you during this difficult time of the year with a new, biting edition of our Bingo card series.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
The artifacts are estimated to date from 400 to 300 BCE, when Greek settlements existed along the northern shores of the Black Sea near Odesa.
Jeremy Webster of Leicester University’s Attenborough Arts Centre reportedly pelted the statue from behind a fence.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Snapchat CEO Evan Spiegel and model Miranda Kerr paid off the student loans of 285 recent graduates.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.