Part of the Smithsonian’s Viewfinder, a women’s film and video series, “Joan Jonas: The Inner Worlds of Video” will take place on February 4 at 5:30pm EST.
Emphasizing obscured histories, Vento inspires hope that the biennial programs to come will be potent enough to raise some dust in Niemeyer’s drafty halls.
Surface Knowledge, the latest Flaherty NYC screening series, presents enthralling experimental documentary shorts which play with ways of seeing and experiencing the world.
San Francisco’s Fort Mason Center for Arts & Culture will host the US Premiere of They Come to Us without a Word. On view through March 10, 2019.
Citing “cost reasons,” the Haus der Kunst has canceled both retrospectives, choosing to instead host a Markus Lüpertz exhibition, which some say upholds the outdated standards of German art hegemony. This decision follows the controversial ousting of former director Okwui Enwezor.
Overall, the work in Enacting Stillness suggests that, contrary to some of the grander claims made about art’s political efficacy, most art intervenes in the world in a more limited, but no less essential, way.
VENICE — For more than five decades, performance has formed the center of Joan Jonas’s illuminating artistic career.
CAMBRIDGE, Mass. — It is a dark room that seems like nothing much — a cave, an aside to the larger exhibition spaces at MIT’s List Center — until you immerse yourself in it for any length of time.
Looking at the work of a few pioneers, specifically those on the scene in New York City, it’s obvious that technology was a catalyst for a new type of electronic art; these artists were trailblazers in both fields.
LONDON — It is with the pairing of two 20th-century giants in one room, Jackson Pollock and David Hockney, that the relationship between performance and painting is introduced in A Bigger Splash: Painting after Performance, an exhibition currently on view at the Tate Modern.
There’s been much talk in the art world during the past decade about the rise of the curator as artist, a figure who in her or his most overweening moments seeks to render artist and artwork secondary to the vision — or, at worst, predetermined program — for a particular exhibition. MFAs in curatorial studies are proliferating, and celebrity curators have become as powerful, influential, and famous as artists always have been, as collectors have become, and as critics once were. However fashionable of late, the curator as artist existed decades earlier in the figure of Harald Szeemann, partly as a result of his radical approach to Documenta 5 in 1972, where he initiated a multi- and inter-disciplinary format that continues to this day.