NYU’s Grey Art Gallery is exhibiting 80 drawings by Santiago Ramón y Cajal, the “father of modern neuroscience” who used art to reveal the anatomy of the brain.
Two art professors, a neurosurgeon, and a radiologist will discuss ways that artists and scientists can learn from each other.
What the exhibition of Drummond and Dodd proves is that the art world was more diverse in the 1960s than has been told.
If 1962 is the dividing line between one art world and what we seem to have inherited, Inventing Downtown will bring you back to the period before the “art Establishment crossed the street.”
There are certain exhibitions in which some or many of the works on display are so interesting, provocative or well-made that they somehow manage to surmount whatever restrictive or overwrought critical-theoretical trappings their organizers have erected around them, defying the analytical filters through which they are meant to be considered and understood.
Most photographs of real-life events tend to be documentary by nature, but the kind of photographic image-making that makes a point of approaching its subjects with an “objective” viewpoint and a for-posterity sense of purpose — can such photos ever convey a truly neutral position vis-à-vis their subjects?
The most telling artifact in Energy That Is All Around is a letter artist Alicia McCathy received from her school, the San Francisco Art Institute (SFAI), back in 1992.