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.
Metro Pictures
Posted inArt
Lessons Learned at the Feet of Frederick Douglass
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.
Posted inFilm
Catherine Sullivan’s X-Ray Dreams
Sullivan’s film, The Startled Faction (a sensitivity training), is a tumbling-together of social satire, utopian feminism, and anarchist agitprop.
Posted inArt
Trevor Paglen Peers Into the World of Computer Vision
A Study of Invisible Images, which is showing at New York’s Metro Pictures, illuminates the ways that machines interpret and see images.
Posted inArt
16 Manhattan Galleries Host 36 Out-of-Town Art Spaces
Condo New York is a sprawling, collaborative omnibus exhibition spanning spaces in Chelsea, the Lower East Side, and Tribeca.
Posted inArt
A Touch of Autobiography in Cindy Sherman’s New Classic Hollywood Portraits
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.
Posted inArt
At a Surveillance-Themed Art Fair, Snowden Bust Is the Star
A red light blinking from a gilded security camera greets visitors to Seven’s surveillance-themed Anonymity, no longer an option.
Posted inArt
The Values of Louise Lawler
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.
Posted inArt
Andreas Slominski’s Wonderfully Ugly Handbags
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.
Posted inArt
Empty Galleries, Empty Hands
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.
