When it comes to the word “diversity,” what are we really referring to?
The exhibitions demonstrate the messy, intuitive processes by which artists combine experience, an understanding of materials, and dexterity to create objects that convey meaning.
No one art festival can do everything, but FRONT has made a bold inaugural effort to establish itself as a new art destination.
See highlights from the 2017 Whitney Biennial, which opens to the public later this week.
This year’s iteration of the Portland Biennial, organized by the Disjecta Contemporary Art Center and curated by artist Michelle Grabner, claims to be the most complete survey of contemporary art in Oregon ever.
INDIANAPOLIS — The domestic and personal are generally accorded critical attention when cast as dysfunctional; Michelle Grabner presents the domestic as a relatively positive creative force.
Pathmakers: Women in Art, Craft and Design, Midcentury and Today is a brave exhibition currently on view at the Museum of Arts and Design.
Two weeks ago, when critic Ken Johnson reviewed Michelle Grabner’s current solo exhibition in the New York Times, he fell into a trap. Johnson didn’t like Grabner’s work, which is fine, but rather than breaking it down to understand why he didn’t like it, he resorted to half-baked biographical stereotyping.
What most struck me about the now notorious Michelle Grabner review in the October 24th edition of The New York Times was that it was, unusually, surrounded by reviews of other painters.
Adam Weinberg, the director of the Whitney Museum of American Art, was candid in his opening day remarks when he commented that the Biennial had in the past been thought of — or was criticized for not being — a representative snapshot of American art.
The 2014 Whitney Biennial has many things: oversized ceramics, big abstract and figurative paintings, experimental jazz, videos of people having sex, and bead curtains. What it doesn’t have all that much of is politics.
During the opening remarks for the 2014 Whitney Biennial, Whitney Chief Curator Donna de Salvo said that this year’s exhibition was “one biennial with three distinct points of view,” so we’ve decided to explore that diversity in perspectives with three separate photo essays of the Biennial — one per floor and curator.