“Envision an art world utopia in which every artist, irrespective of gender or race, is valued for their work!” It was (and still is) a lovely sentiment, shouted by 14 female artists decked in flowers and gowns and leotards, and standing in the second-floor galleries of the Whitney Museum.
Let me introduce you to a few of the many selves of Eleanor Antin, as they are represented in the show Multiple Occupancy: Eleanor Antin’s “Selves,” currently on view at the Wallach Art Gallery at Columbia University.
Is this Judith Bernstein’s moment? With her work now on display in two New York museums, the art world is finally catching up with this uncompromising artist. And it’s taken only four and a half decades.
LOS ANGELES — Most artist retrospectives occur decades after an artist’s career really takes off, once their name has been recognized in the annals of art world lore. But long time collaborators Chan and Mann — Audrey Chan and Elana Mann, respectively — have organized their own retrospective to recognize their “seven year itch” of collaboration and “historicize now.”
CHICAGO — In a darkened gallery in the Art Institute of Chicago, a grainy video from decades ago begins. Standing with her face pressed up against a white wall, a woman reaches down and scoops up a handful of red, viscous liquid — presumably blood — from an enamel tray, and in a series of arcing gestures she traces a crude outline of a doorway, or a cave entrance, or maybe just the close demarcation of her own small body, around herself onto the wall.
Photographer Jill Greenberg’s show “Glass Ceiling” at Clamp Art presents outtakes from one of her commercial editorials and plays them off as feminist art, but are they?
Youtube is a surprisingly excellent place to see art, and not just the latest glitchy gif set your neighbor came up with. The site is full of historical performance videos, all just a click away. One of the greats is Martha Rosler’s performance “Semiotics of the Kitchen” (1975), in which the artist goes through an alphabet’s worth of kitchen implements for a blistering feminist critique of traditional gender roles.