From undergoing nine weeks of protests to displaying more ethnically and racially diverse than previous years, this year’s Whitney Biennial has a lot to unpack, particularly around the resignation of Warren B. Kanders, the former vice chair of the Whitney Museum and the man behind Safariland, a tear gas and military equipment manufacturer.
I asked our associate news editor Jasmine Weber, editor and critic Seph Rodney, and reporter Hakim Bishara to join me and reflect on months of controversy and protest, while offering their opinions on the exhibition itself. We discuss favorite works, what the state of affairs is post-Kanders, and the biennial’s duds. You’ll want to hear this.
A special thanks to Wanderraven, who provided the music to this week’s episode. The song is “Here Into The Dark” and you can hear more at wanderraven.com.
For roughly half an hour, art collectors had to consider a world in which they didn’t get that Alex Katz work.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
What does it mean when the world’s richest person trolls us?
SCAD’s booth at Design Miami/ features glazed tiles by alumi artists Nicolas Barrera, Lauren Clay, Gonzalo Hernandez, Cory Imig, Abel Macias, and Nikita Nagpal.
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
Suzanne Jackson’s paintings come to life, and find their way home, at the Arts Club of Chicago.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
The exhibition sold the highest number of tickets in its 127-year history.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.