Gretchen Bender’s work faded into obscurity following her meteoric 1980’s career. A posthumous retrospective in New York demonstrates why she deserves to be more than “a footnote to the Pictures Generation.”
A group show featuring the likes of Jenny Holzer and Harun Farocki frames the dystopian world of 1960s British TV show The Prisoner as a harbinger of 21st-century surveillance capitalism.
The primary takeaway of Brand New at the Hirshhorn is its demonstration of how high the stakes of representation became during the 1980s, a decade of proliferating imagery and technology.
During the opening remarks for the 2014 Whitney Biennial, Whitney Chief Curator Donna de Salvo said that this year’s exhibition was “one biennial with three distinct points of view,” so we’ve decided to explore that diversity in perspectives with three separate photo essays of the Biennial — one per floor and curator.
CHICAGO — Media theorist Marshall McLuhan once said that television is cool and radio is hot. This isn’t a temperature thing, but rather a classification of media based on the participation it involves from viewers.