A prophetic document of our time, the New Museum exhibition calls attention to the weight of Black death not because it is new or salacious but because it remains urgent.
First-year grad students produced this episode of the listening series, which originated as part of Ensayos’s “Coastal Curriculum” during the collective’s residency at the New Museum.
Before he turned 30, it was clear that Saul had found his subject: an American society deeply rooted in consumerism, pervasive racism, and toxic masculinity.
The artist is nothing if not defiant, and his talk at the New York’s New Museum will introduce his first major U.S. exhibition in 33 years.
The workers voted by a 96% margin to authorize a strike if their demands for higher wages, health care benefits, and improved worker safety are not met.
A national competition rates the best restrooms in the United States. Among its finalists are the NYC museum’s colorfully designed washrooms.
Ward doesn’t just utilize found objects; he communicates with them — intellectually, visually, soulfully.
New portraits by Lynette Yiadom-Boakye, on view at the New Museum, reveal how the artist uses color to launch into the mind and psychology of her fictional characters.
Pettibon’s real subject is not the hypocrisy, mendacity, and stupidity of political leaders, but the Thanatos-driven impulses that compel us to empower those leaders in the first place.
The New Museum seems to have taken it upon itself to produce spectacles that are as moving as they are eye-filling. Pipilotti Rist: Pixel Forest is something else again.
A rock-climbing wall is covered with penises at the New Museum.