Buildings can seem tedious and boring, especially in their repetition in a city like New York. But they are an enduring sign of our species’ survivability and perseverance. It was only 12,000 years ago (in an approximate 200,000-year continuum of existing as human beings in our current forms) that the Neolithic Revolution took place and we transitioned from hunting and gathering to become farmers, create settlements, and domesticate our helper animals. It might be around this moment, at the beginning of becoming sedentary people that we imagined what constitutes a house, or a home. Our homes now are fraught with the ambivalence that’s rooted in the fundamental question of whether that was a good choice.
Whatever our domiciles look like, they are places of opposition. They represent our need to carve out a space for the self, as the poet John Ciardi said: “walling in and walling out / in that most concrete version of the either-or.” Yet, they are often also designed to exist in a larger shared structure. Residential buildings are both about solitude making its peace with mutual space — individual compartments that are linked within one superstructure. In Gigi Scaria’s All About This Side, exhibition at Aicon gallery, the buildings become genuinely surprising because they are allegorized in myriad ways that reveal a history of varied uses for the idea of a dwelling place: surrealist structures, temples, edifices confected from minerals housed in natural rock, features of the landscape, repeated theoretical design templates that are ostensibly created for people though no humans are in evidence. Before this show, I did not know that a house could do and be so much. For all the ways it makes one look at and reconsider the domicile as a constitutive part of being, this show is completely worthwhile.
The show is lovely in its extrapolation of housing from the very basic elements the planet gave us, as in “Shadow of the Ancestors” (2015), in which the trunk of a tree casts a shadow that is a building — thus prompting a discussion about how our first home came from trees. She show also illustrates contemporary structures showing that they are representative of humans even when we are absent. In my favorite piece in the show, “Trial” (2017) human figures appear as copper-colored figurines on the wall standing on balconies painted a steely blue. Here the building is implied as the one patch of land the individual has to take in a view of everything else. It is our ground, our earth, that little patch of land, and so it is immensely important.
The settlement comes after Tate prevented an artist who exposed sexual harassment by one of its largest donors from co-curating an exhibition.
Let’s be honest: On a best bathrooms list, no one wants to be number two.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
Advocacy groups are pushing for a 5% royalty in resales, which would pertain even after the artist dies, in which case the funds would go to their estate.
This week, the Getty Museum is returning ancient terracottas to Italy, parsing an antisemitic mural at Documenta, an ancient gold find in Denmark, a new puritanism, slavery in early Christianity, and much more.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
The absence of an explicit framing of American art, in all of its diversity, as a visual culture of empire distorts and hampers our ability to understand — and reimagine — our social world.
The gap between the material body and the psychological one, which we all too often take for granted, is one of the underlying themes of Hiro’s exhibition.
David Rios Ferreira and Denae Shanidiin join forces to bring awareness to the plight of Indigenous women and girls, and LGBTQ+ individuals.
Metrograph’s series The Process features films that were either directed by Robert M. Young or made with the help of Irving Young’s postproduction facility.
Memes depicting a sinister, all-powerful Joe Biden alter ego are sweeping the internet, and the Democratic establishment is loving it.