Inspired by a Selena song, Arisleyda Dilone and Camilo Godoy’s upcoming performance invokes Latinx telenovela scripts, lullabies, and more to explore themes of self-love, longing, and desire.
Set aside time to brainstorm what an “ideal” employment contract might look like, how to foster methods of organizing, and more with members of the New Museum Union.
Sarah Amos’s work may be labor-intensive, yet it conveys neither labor nor the consumption of time, but a meditative joy.
An exhibition that questions whether art can be based on formulas without becoming formulaic.
Environmental activists, public health advocates, and artists consider how we can be mindful of illness and the environment.
Linn has a knack for noticing the odd and unexpected in everyday life, and seems to have her camera with her at all times.
Williams has a deeply personal awareness of the irreparable harm done to black bodies.
Thornton’s art is the result of his research into the ways different religious traditions convey the underlying nature of mystical and occult experiences.
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.
I have been doing my best to follow Marilyn Lerner ever since I reviewed her exhibition at John Good for Artforum (May 1989).
Short answer: it’s awesome. And it’s currently on view at Cue Art Foundation.
Curated by Katie Cercone, the exhibition Goddess Clap Back: Hip-Hop Feminism in Art brings together various artists who, in their work, subvert the tropes of mainstream hip-hop: the unabashed consumerism and celebrity worship, the heteronormativity, the machismo bordering on misogyny. One of my favorite finds was Michelle Marie Charles.
Three current exhibits focusing on recent MFA recipients show that painting is still being utilized by young artists for experimentation, even if they have to totally destroy the canvas with a hammer or fill it with cement.