In this age of self-promotion and careerism, there’s something stunning, and inspiring, about the integrity of someone who had the courage just to leave.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
What happens when one’s language is not heard? Or heard, but not recognized? When one’s speech carries within it holes of silences: hesitations, pauses, caesuras, stutters, and apprehensions?
Sometimes an exhibition reminds you of why exhibitions exist, those surprising moments when usually dull curatorial exercises become transcendent experiences, reinvigorating overlooked corners of art history. I Am Still Alive at the Museum of Modern Art is one of those exhibitions, defiant and vivacious as anything I’ve seen in New York in the past few years. The show focuses entirely on drawing, demonstrating contemporary drawing’s engagement with the politics of living and everyday life. This is art as struggle and art as achievement, nowhere more reaffirmed than in On Kawara’s telegrams sent to the artist’s dealers and friends simply stating: “I am still alive.” To make art and to fight through problems and conflicts, social or personal, through the medium of art is to be alive.