What’s incredibly refreshing and exciting about Trigger: Gender as a Tool and a Weapon is that it’s a queer art show that specifically seeks a space beyond a taxonomic obsession.
An event at JACK presented five performances dealing with what it means to make art in an age of crisis.
A public sculpture series curated by the Studio Museum in Harlem showcases work by artists who have strong connections to the area.
A public artwork reminds us that what’s happening to the humans in a city is not necessarily the same as what’s happening to the animals.
The Visible Hand looks at how artists themselves build institutions, are managers, and are very much a part of and influenced by the systems their work moves through.
An exhibition attempts to find the new feminism in work by artists from around the world. It falls short of its task but raises some questions worth asking.
In a musical and dance performance, a multilingual cast explores the polyphony of Brooklyn through language and movement.
Curated by Eva Yaa Asantewaa, the dance piece the skeleton architecture, or the future of our worlds incorporated structured improvisation, a deep sense of play, a bold engagement with the audience, and a particular permission given to watch and witness.
ARLINGTON, Va. — The landscape paintings that taught me most about the form as a young person were the works of Albert Bierstadt and Bob Ross.
It starts with the title: Outdoor Art. Simple, straightforward, you might think.
The road that led to last week’s Brooklyn Community Forum on Anti-Gentrification and Displacement at the Brooklyn Museum was long and winding, but its starting point is very clear.
A few years ago I was covering a panel discussion for Hyperallergic featuring members of Gran Fury, an ACT UP affinity group focused primarily on producing what group members themselves called “propaganda” against a government hellbent on isolating, vilifying, and smugly looking on as tens of thousands of their citizens died of AIDS.