I am often skeptical of protest art behind glass, yet I still cannot deny the pleasure of experiencing politically charged artworks in a venue making the effort.
In Radical Virtuosity, Genevieve Hyacinthe brilliantly reframes Mendieta’s celebrated works, yet for a book so rooted in race, the final analysis feels only half-full.
Recalling an incident when working as a waitress at 22, Barkin says that Andre choked her over an issue with her service, connecting that assault with Andre’s alleged murder of his wife, artist Ana Mendieta.
In Otherwise Obscured, effacement, redaction, and illegibility are positioned as tactics that artists can employ to combat, highlight, or heal sociopolitical invisibility.
Teens are dancing to messages from their abusive exes, continuing the legacy of artists like Ana Mendieta and Suzanne Lacy.
A small yet mighty exhibition, Fragments of a Crucifixion highlights moments of mourning, as well as joyful moments of faith and collectivity that continue in the face of traumas.
Dialectics of Entanglement: Do We Exist Together? revisits A.I.R.’s 1980 exhibition Dialectics of Isolation, important for its promotion of women artists of color at a time when the New York art world was painfully exclusive and discriminatory.
A year of truth-telling and electric painting.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
Their only solution was to make their revolution their own way, without help and without precedent.
For Martha Wilson and her collaborators at the Franklin Furnace Archive in New York, the avant-garde spirit is alive and well, and as relevant as ever.
Artists and activists gathered at MOCA Geffen to protest what they consider Mendieta’s erasure from the canon and the disassociation of her death from Andre’s story.