Film
Twenty Years Later, Returning to a Pioneering Black Lesbian Film
It's the 1990s when a young, ambitious filmmaker goes on the hunt for "the Watermelon Woman," a black actress who played mostly mammy roles in 1930s and '40s Hollywood films.
Film
It's the 1990s when a young, ambitious filmmaker goes on the hunt for "the Watermelon Woman," a black actress who played mostly mammy roles in 1930s and '40s Hollywood films.
Art
The late theorist and photographer Bhupendra Karia’s lifelong mission may best be summed up as a quest for objectivity.
Art
MEXICO CITY — Between 1987 and 1992, a group of young art students in Mexico City formed a weekly flux group of creative exchange and critique as an alternative to the overly traditional fine art education available to them.
Books
My editors asked me for notes on books I’d been reading — about three hundred words. I’ve already figured out that it’s not in me to be quite that concise.
Art
In Mark Greenwold's pencil drawing “Josie” (2015), at least three people and an oversized cat are gathered in a room under what looks like a skylight. A bespectacled man on the drawing’s right-hand side is wearing boxer shorts and a t-shirt, his erect penis poking through his shorts.
Art
For her solo debut at Marlborough Chelsea, Shara Hughes presents eight near-dizzying kaleidoscopic paintings of landscapes and oceans.
Art
Deceptively casual and casually deceptive, Monique Mouton’s abstract paintings at Bridget Donahue on the Lower East Side are simple statements wrought from a density of decision-making, starting with the often irregular shape she chooses as a surface.
Film
What does it mean to be Ojibway now, in 2016?
Art
“My kid could do that” is the world’s most clichéd dismissal of Modern art.
Art
Plunge into dreams at Volta NY 2016.
Art
After spending six years in Chelsea, the Independent Art Fair has found a new home in Tribeca, in the incredibly sleek Spring Studios, usually host to fashion-related events.
Art
The Let Down Reflex is essential viewing for anyone engaged with issues of caring economies, so-called “women’s work,” or the question of living wages for the art world’s service workers.