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.
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.
LONDON — Posters all around London advertising Tate Modern’s new building proudly proclaim: “Art Changes. We Change.”
MILWAUKEE — As I look at this photograph of myself, lying flat with arms outstretched on the Carl Andre, I wonder about my violation of museum etiquette.
In 1968, Seth Siegelaub and John Wendler published the first edition of the so-called “Xerox Book.” The untitled publication, which was conceived as an exhibition in itself — and is currently the subject of a show at Paula Cooper Gallery — is now considered a seminal artist book.
LONDON — Last year was my first Frieze London fair, and I was baffled that it could seem so desultory, given that it was chock-a-block with pointlessly novel artworks.
In his new documentary, Troublemakers: The Story of Land Art, filmmaker and art historian James Crump digs beneath the surface to explore the personal lives, artworks, and historical treatment of three land artists: Michael Heizer, Walter De Maria, and Robert Smithson.
I didn’t think I would be able to cry on command.
BEACON, NY — Carl Andre’s 50-year, career-spanning retrospective at Dia:Beacon is coming down this weekend. If you think that Modernism is god, that its spawn, Minimalism, is the lord, and that Andre is her messenger, you’d best catch the show before it’s gone.
Ironically, Leslie Hewitt’s Monday night lecture on Carl Andre, which examined ways of escaping the hegemony of art and political history, was protested by those who opposed Carl Andre’s place within that history.
Of the many things one might expect to see in the industrial chic gallery neighborhood of Chelsea on a Monday evening, chicken blood and guts splayed on the sidewalk is not one of them.
PARIS — In a search for art that reacts to the inequalities of globalization, must art lose touch with the sort of grace that exceeds the hand, a grace that couldn’t be anything but artificial and technological?