“In the midst of a contagion that threatens our way of life, isolates us remorselessly from family and friends, and breeds fear and paranoia, I find these pieces grounding.”
Since the early 1980s, Kiki Smith has created artworks marked by her fascination and concern with the human body. In a conversation with Hyperallergic, she discusses some of her first films and audio works, which have been scantily acknowledged, offering a corrective to the object-based record of her decades-long career.
From 1984 to 2012, printmaker and professor Nancy Campbell ran the Mount Holyoke College Printmaking Workshop, where women artists like Kiki Smith and Vija Celmins produced remarkable prints.
Surprises and puzzles in Venice and Vienna, from Sean Scully to Tintoretto.
Outdoor sculpture should not be an addendum but an interruption, an incongruity, a hole piercing the day’s fabric.
After collaborating on the starry window that presides over the Museum at Eldridge Street, Kiki Smith returns with a site-specific installation of sculptural work.
The Future Is Female focuses primarily on the work of women artists who came of age after the Women’s Art Movement.
The rewards of what is in plain sight far outweigh what is tucked away.
It makes sense, at this most critical moment, to take a serious look at the art of the 1980s, its political fury and layered poetics, as an anchor in the storm.
From 1983 to ’84, David Wojnarowicz and Mike Bidlo took over a decrepit Hudson River pier to create a collaborative and ephemeral alternative art system.
PHILADELPHIA — Once upon a time, at the Philadelphia Museum of Art, there lived a family of sculptures. They were all smooth, white, and vacant-eyed.
Although it’s an art form more associated with medieval cathedrals, there is stunning stained glass in New York City.