Sara VanDerBeek’s new print series, Women & Museums, interrogates how women occupy institutional spaces, particularly through the prominence of traditionally craft media like ceramics and textiles.
Isaac Julien advances a layered, palimpsestic view of time, not as progress but as a series of lessons. This, then is a note of what I learned.
Sullivan’s film, The Startled Faction (a sensitivity training), is a tumbling-together of social satire, utopian feminism, and anarchist agitprop.
A Study of Invisible Images, which is showing at New York’s Metro Pictures, illuminates the ways that machines interpret and see images.
Condo New York is a sprawling, collaborative omnibus exhibition spanning spaces in Chelsea, the Lower East Side, and Tribeca.
The beauty of walking into a Cindy Sherman exhibition is that there is always a new group of women there waiting for you on the wall, asking you to understand and explore their lives.
In 1867 Timothy O’Sullivan headed out West.
A red light blinking from a gilded security camera greets visitors to Seven’s surveillance-themed Anonymity, no longer an option.
At the core of artist Louise Lawler’s work is the question of place, by which I don’t mean simply a notion of geography, but also hierarchies.
Andreas Slominski’s exhibition at Metro Pictures, which closes today, is the perfect riposte to those enthralled with the expensive baubles of Jeff Koons, or with designer fashions, reality TV, and the gaseous personalities populating these self-inflated, narcissistic times.
Nineteen years ago, Anselm Kiefer unveiled an installation at Marian Goodman Gallery called “20 Years of Loneliness,” which featured two decades’ worth of the artist’s work stacked in a towering pyramid (there were rumors that Kiefer was planning to set it on fire) along with two tables filled with large ledgers whose blank pages were stained with squirts of the artist’s semen.