New York Magazine‘s senior art critic has started filing video reports from art events. And on Friday he posted a segment from Brooklyn Museum’s “food art” gala created by “food artist” Jennifer Rubell. Her description of the event is priceless:
It’s an evening, it’s a meal, it’s a kind of performance installation and the idea that as a participant you are forced into that kind of engagement in order to do something very specific which is have a meal. So, you are not allowed to have the usual passive interaction you usually have with art.
So, art is passive? Is she living in the 19th C.? Let’s think of things that contradict her, ummm … the history of performance art, happenings in the 60s, the current Marina Abramović solo show at the MoMA. And then this doozy:
First of all there’s no instruction and there’s no servant.
Wow, so you mean … like the buffet at Denny’s? Is it really radical not to have a servant at a buffet? I don’t know why but I have an overwhelming urge to link to an article we pointed out a little while ago, Leon Neyfakh’s “Bullshit Artists.”
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
Murch’s painted dust can be so tangible you feel compelled to wipe off the picture.
“As we grieve her loss, we call for full accountability for the perpetrators of this crime and everyone involved in authorizing it,” they wrote in an open letter.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
The planned center will be named after Fred Rouse, a Black man who was lynched in the city of Fort Worth in 1921.
The researchers found that when eyes meet, certain areas of the brain start experiencing “neural firing.”
Curated by Clare Dolan, this solo exhibition in Frenchtown, NJ contains new and unearthed paintings, sculptures, and prints selected from the organization’s 60-year history.
From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
Every corner and crevice of Columbia University’s MFA Thesis show feels lived in, reflecting not just artists’ experience quarantining with their work, but also that of re-entering society.
Sprawling across the Joshua Tree region, nine site-specific works consider the ways in which people have relocated to the desert, destroying what came before them, and cultivating new life.