Postscript exudes a rare ease of accessibility, permitting viewers to linger and acknowledge the nuances of grief.
Private text messages published this weekend by The.Ink show how members of the Sackler family tried to use the museums that received their money as a way to clear their names.
In 2018, she became the first female Land artist in the Dia Art Foundation’s collection, but it has taken decades for Holt to gain recognition. A new exhibition argues she was truly an artistic innovator.
Why things persist might be a question most relegated to the realm of philosophy, but I think it’s germane to Kishio Suga’s installations at Dia in Chelsea.
The artist’s “Kulturegeschichte 1880–1983” (“Cultural History 1880–1983”) is a seemingly endless archive that renders the viewer mute.
The lake that hosts Robert Smithson’s landmark earthwork is desiccating at an alarming rate.
BEACON, NY — “All right, folks, Beacon will be next … Beacon next, Beeeeaa-con Beacon Beacon,” says a Metro-North conductor in my headphones.
Max Neuhaus’s “Times Square” sound installation is meant to be stumbled upon by visitors to the chaotic crossroads in Manhattan.
Art can transform a city experience even if we don’t realize it.
I didn’t think I would be able to cry on command.
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.
In one of the final remarks of her talk last Monday for the Dia Art Foundation’s Artists on Artists lectures, Frances Stark hit on the essence of the series: “Being an artist is about falling in love with other artists.”