We love representation, the power of signifying, and the incisiveness of well-argued critique, but by themselves, these tools won’t effect structural change.
An intriguing meditation on the flawed two-party system, the power of Katchadourian’s Monument to the Unelected lies in its ability to confront us with alternative histories.
Katchadourian excels at investing commonplace, inanimate objects with vitality and soulfulness.
Nina Katchadourian remixes on-hold music for a dance party at the Fridman Gallery.
A survey of the artist’s work at the Blanton Museum of Art argues that there’s a seriousness behind her irrepressible pluckiness.
Artist Nina Katchadourian spent two years exploring the dustiest realms of New York’s Museum of Modern Art for a new audio tour.
A sign for Hillary Clinton’s 2016 campaign joins presidential runners-up in Nina Katchadourian’s “Monument to the Unelected” in Brooklyn’s Prospect Park.
Nina Katchadourian’s “Monument to the Unelected” gives us a chance to consider what it means to be a loser in our electoral system.
VENICE — As I feel my way through a curtain and into a pitch-black, cavernous space, a white square shimmers in the distance.
As the Central Park Conservancy celebrates its 35th year, it’s hard to imagine the decrepit shape much of the park was in when they started revitalization efforts in 1980. As part of its anniversary celebrations, the Conservancy partnered with Creative Time.
Esopus 22: Medicine feels like a giant patient file for the cross between the medical and visual arts.
This November, a new exhibition that hopes to explore the artistic boundaries and terrain of the Ottoman Empire will open at Pratt Manhattan Gallery. Titled Blind Dates, the show is the brainchild of curators Defne Ayas and Neery Melkonian, and their goals are lofty as they set out to trace: “… ‘what remains’ of the peoples, places and cultures that once constituted the diverse geography of the Ottoman Empire (1299-1922).”