Support Hyperallergic’s independent arts journalism.
Opening tonight, the New Museum’s NYC 1993: Experimental Jet Set, Trash and No Star purports to offer a time capsule, or, as the museum’s curator Gary Carrion-Murayari put it, a “form of collective memory” documenting a particular time in a particular art scene, namely, New York City in the ’90s.
Including well-known names like Annie Leibovitz, Mike Kelley, and Felix Gonzalez-Torres as well as more obscure artists, the exhibition succeeds in capturing a moment in time with its full-museum installation of every format of work imaginable. New Museum Director Lisa Phillips called 1993 (the year, not the show) a “turning point for the entire culture.” The art on view here reflects, obliquely and explicitly, the politics and social currents of its time.
What that time means, precisely, is up to the viewer to discern. See our photographs of the exhibition below.
NYC 1993 runs at the New Museum (235 Bowery, Lower East Side, Manhattan) from February 13 through May 26.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.