My biggest regret is that I tried a little too hard to fit in when I first began writing art reviews for Art in America in 1977, as if I could actually pass as a member of the “model minority.” If I had had the right gyroscope and had known when I should have acted cool and well bred instead of sullen, I might have had a smoother time. Was it because I knew deep down that if I had acted like a polite — or inscrutable — Asian, I would never have been able to pull it off? Why did I keep trying?
Should I have yelled when people mistook me for David Diao, who once told me that the art world wasn’t ready for two Asians? I later realized he was only half-joking.
After I started writing reviews for Art in America, it became obvious that I would only be assigned exhibitions that none of the other critics wanted to review. That might have made sense in the beginning, but not after five years, which is why I left and started writing for Arts and later Artforum.
And yet this first taste of editorial rejection convinced me to continue my habit of frequenting galleries such as Allan Frumkin, Robert Elkon, Cordier & Ekstrom, Robert Schoelkopf, A. M. Sachs, and others whose names I have forgotten, all of which were far from Soho, where it was all happening.
Even after recognizing the context of these professional constraints, however, I still did — or, more precisely, didn’t do — things that I regret. In the mid-1980s, after I first found out about the paintings of Matsumi “Mike” Kanemitsu, an under-known “Second Generation” Abstract Expressionist, why didn’t I take the time to go to the Donnell Library and dig deeper into his work, as I had for so many neglected white artists? After my pitch to write about Susan Rothenberg was rejected, why didn’t I instead investigate the beguiling painter Miyoko Ito, who at the time showed mostly in Chicago, and try to put her work in front of a broader public?
A few years after I left Art in America, I wrote about Wifredo Lam for Arts and Hiroshi Sugimoto for Artforum. By this time, nearly a decade had passed since I first started writing art criticism. In the face of resistance, why didn’t I take an alternative path right from the beginning? Why did it take me so long to embrace my otherness and realize that fitting in had always been a fool’s errand?
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
Drawing from a wide range of personal influences, McQueen deconstructed myths and facts and refashioned them into his desired story.
Intervención/Intersección, the latest venture from MASA Galería, is a humming subversion of what public art can look like.
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The phishers posted an “official minting link” to a fraudulent raffle from the famous NFT artist’s account.
Through jubilant performances and speeches, the city’s first-ever Blasian March connected the large but disparate communities.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
“I am an artist and a human being struggling to get out of this unjust prison, but every day my love of free and honest art grows firmer,” the persecuted artist said in a statement from a maximum-security prison in Cuba.
Lewis’s tattered canvases and pasted over drawings mirror a world in need of constant upkeep and repair.
Seeing the Toronto Biennial of Art through my daughter’s eyes helped me push past some of its challenges by experiencing it on a primordial level.