Rocks, ducks, and a self-organized survey of Gingham are some of the things to see right now in four Chicago art galleries.
How Happy I Am to Have Seen This Little Corner of America in a Museum
When it comes to the word “diversity,” what are we really referring to?
Turning the Artist’s Studio Inside Out
The exhibitions demonstrate the messy, intuitive processes by which artists combine experience, an understanding of materials, and dexterity to create objects that convey meaning.
Cleveland Mounts Global Triennial But Local Artists Are Largely Overlooked
No one art festival can do everything, but FRONT has made a bold inaugural effort to establish itself as a new art destination.
An Omnivorous Tour of the 2017 Whitney Biennial
See highlights from the 2017 Whitney Biennial, which opens to the public later this week.
Spectacular Geography and Studios in the Kitchen: Michelle Grabner on Curating the Portland Biennial
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.
Finding Art in the Smallness of Everyday Enthusiasms
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.
The Great Divide: A Survey of Women in Art and Craft
Pathmakers: Women in Art, Craft and Design, Midcentury and Today is a brave exhibition currently on view at the Museum of Arts and Design.
On Ken Johnson and the Question of Sexism
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.
The Uses of Pleasure: Michelle Grabner at James Cohan
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.
Texting at the Whitney Biennial
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.
Whitney Biennial 2014: Where Have All the Politics Gone?
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.