In 1975, travelers arriving at LaGuardia Airport received skull-emblazoned pamphlets that cautioned them to “stay away from New York City if you possibly can.” But ’70s NYC also attracted a burgeoning community of transgressive artists, writers, and musicians. Among them was performer and provocateur Lydia Lunch, now the subject of fellow No Wave artist Beth B’s documentary Lydia Lunch: The War is Never Over.
No Wave was a brief but potent explosion of underground artistry in the Lower East Side. Drawing on this background, Beth B endows The War is Never Over with an appropriately DIY sensibility and manic, discordant energy, skillfully patching together archival footage, photographs, performances, and interviews with peers like Kembra Pfahler and Sonic Youth’s Thurston Moore to tell not just Lunch’s story, but also the story of late ’70s New York. Upon arrival on the No Wave scene, Lunch resolved to make the “angriest but most precise” music she could.
Refreshingly, the documentary isn’t a retrospective of Lunch’s former glory, but a celebration of her still-active artistry, looking at her band Teenage Jesus & the Jerks, her cinematic collaborations with Richard Kern, and her recent Retrovirus tour. After nearly five decades on the stage, she shows no signs of waning, and exudes a gravitas earned over time. The War is Never Over is not hagiographic; Lunch is as outspoken about her flaws as she is about everything else. But it does emphasize the lessons other women artists might glean from her life, chief among them to boldly pursue their desires. “I will do exactly what I want to do every moment,” she says with forceful, unfiltered conviction, “As I feel everyone should.”
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.