The long-gone art gallery afforded Black artists a space to create without having to consider the pressures of the commercial art market or the fickle nature of nonprofit art institutions.
In Hammons’s body prints, the veteran artist melds method, intention, and significance.
Imagining his first impression of the city he once called home, I suspect Hammons would have said: “You’ve let yourself go.” Conversely, he could have easily said, “I see you haven’t changed.”
A night of astrology, tarot, community, and Leonardo da Vinci at MoMA.
At the Met Breuer, four works by David Hammons, Arthur Jafa, Steve McQueen, and Mika Rottenberg overlap with and inform one another.
A new private museum has taken over a former Masonic lodge in LA and transformed it into a 55,000-square-foot contemporary art venue.
Martin Herbert’s latest book is a collection of essays about 10 artists who play with the system, struggle against it, or walk away altogether.
In addition to the centuries of trauma that artists are exploring and attempting to reconcile with contemporary reality, there is also an underlying solidarity that weaves itself into the fabric of Non-fiction at the Underground Museum.
Last week, the Detroit Institute of Arts (DIA) acquired “Bird” (1990), a striking sculpture by David Hammons.
Why doesn’t the Whitney Museum of American Art inaugurate a series of exhibitions in honor of Herman Melville? It would certainly be fitting given the museum’s recent change of address.
Many writers – including, most recently, Peter Schjeldahl in the venerable magazine, The New Yorker – have characterized David Hammons as “elusive” and “difficult.” According to Schjeldahl: “The artist spoke with me, bracingly and delightfully, for a column in this magazine, in 2002. He wouldn’t do so again.”
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.