Activists from as far away as Los Angeles and Vancouver came to Manhattan’s Chinatown to address the role of art galleries in gentrification.
The artist released a statement after Sunday’s protests, and the protesters have responded.
Dozens of people interrupted James Cohan Gallery’s Sunday hours to demand that the gallery and artist take down what the protesters see as “racist aggression towards the community of Chinatown.”
Fast’s seemingly derelict interpretation of Chinatown businesses has drawn ire from local groups.
Elias Sime’s work at James Cohan gallery reclaims and transforms e-waste into art. While an act of conscience, I can’t help but think that the work is swamped by its own aesthetics.
Yinka Shonibare MBE has focused on two primary concerns throughout his career: his perspective on “otherness” and his awareness of the subtle intricacies of prejudice.
In his new series at James Cohan Gallery, Mud Root Ochre Leaf Star, Byron Kim paints bruises that radiate tenderness and hurt.
The artist’s solo show at James Cohan is a raucous, slightly creepy, rebellious screed.
Omer Fast’s unsettling videos about the trauma of combat linger in one’s mind.
Mernet Larsen claims an unlikely pair of influences: 15th-century Italian painting and the austere abstractions of the Russian modernist El Lissitzky (1890–1941).
Pop, an exhibition currently on view at James Cohan’s new Grand Street location, explores a more obscure phase of Robert Smithson’s tragically brief career: his figurative engagement with popular culture.
What most struck me about the now notorious Michelle Grabner review in the October 24th edition of The New York Times was that it was, unusually, surrounded by reviews of other painters.