The first major retrospective of the free jazz icon’s multidisciplinary work is on view from September 26, 2020, until January 24, 2021.
Banal Presents is the third and final chapter in Colored People Time, departing from the previous shows’ speculative representations to examine the ways that colonialism and slavery have permeated the United States’ past, present, and future.
Ultimately, Suki Seokyeong Kang’s use of the modernist grid is distinctly Korean.
Many nonprofit and artist-run spaces have earned Working Artists and the Greater Economy’s stamp of approval since it launched its certification process in 2014, but the ICA is the first museum to do so.
This vast collection of video art reveals how artists have been speaking back to mass modes of communication for decades.
In Jumatatu Poe’s work, movements that appear classical blend seamlessly with voguing, African dance movements, and J-Sette, a style sprung out of black Southern drill teams.
In his 1973 essay “Approaches to What?,” an underground classic of documentary aesthetics, French writer Georges Perec opposes the drive to find meaning primarily in “the big event, the untoward, the extra-ordinary: the front-page splash, the banner headlines.”
PHILADELPHIA — Talking about the limitations of photography, painter David Hockney said that art “must deeply involve an observer whose body somehow has to be brought back in.” At the time, he was pessimistic about the medium’s possibilities. Enter Barbara Kasten.
This list gives you a sense of some of the best this year across the United States.
PHILADELPHIA — When I first saw William Pope.L’s “Claim” (2009), I was intrigued by its emphatic presence and endless detail. Created for the exhibition Ruffneck Constructivists at the Institute of Contemporary Art at the University of Pennsylvania, “Claim” is an enormous wall, about a foot thick, 36 feet wide, and 15 feet tall.