Reflecting on the five-year process of unearthing and restaging Lucy Lippard’s 1971 exhibition Twenty Six Contemporary Women Artists.
Art critic Lucy Lippard’s first outing as a feminist curator in 1971 has, until recently, been almost entirely absent from history.
What most stands out for me about 52 Artists at the Aldrich Contemporary is the sense of both engaging with and resisting categories.
At the Aldrich Contemporary Art Museum, artworks confront their own untimeliness through appeals to a deeper, more cosmic, sense of space and time.
Harmony Hammond’s work can appear bewildering at first, expansive in its diametrical explorations, and sprawling in its material juxtapositions.
“Those capable of the worst are capable of the best,” says curator Jeffrey Greene. “Anyone can be an artist.”
Anissa Mack uses the county craft fair as inspiration, context, and content.
Hyperallergic staffers pick their favorite destinations within three hours of the city.
A meta-besotted, multilayered, impudent, lacerating exhibition that pricks pretense and self-delusion on every level.
The Fairfield Westchester Museum Alliance (FWMA), a recently formed consortium of museums located just north of New York City, chose to inaugurate its new partnership with simultaneous exhibitions designed to address a widely known if archaic catalogue of human foibles known as the Seven Deadly Sins.