Lydia Ourahmane asks whether her journey to the remote Tassili n’Ajjer plateau should be considered neocolonial tourism or an artistic exploration of cultural heritage.
By approaching sculpture as an open-ended experience of embodiment, Larner provokes us to repeatedly lose and locate ourselves in her work.
Johnson’s winding works prompt as many questions as they provide answers, percolating with repetition, address, and alternates.
In Tishan Hsu’s work, the canvas becomes a television, a platform of multiple channels, where what channel to tune into is the viewer’s choice.
Cennetoğlu’s first solo museum exhibition in the U.S. is on view alongside a group exhibition presented through SculptureCenter’s open call commissioning program.
A tightly focused survey of monitor-based sculpture made between the mid-1970s and the mid-1990s.
The exhibition’s artists push against narratives put forth by corporate and government industries by producing specific knowledge and corroborative objects around unmapped historical and political events.
Founded by artists in 1928, SculptureCenter provides an international forum that connects artists and audiences by presenting exhibitions, commissioning new work, and generating scholarship.
The SculptureCenter is hosting Nicola L.’s first institutional survey, cementing her reputation and oeuvre as thoroughly feminist.
Teresa Burga’s first solo museum exhibition in the United States focuses on her contributions to the Peruvian avant-garde and questioning of art-world hierarchies.
In Practice: Material Deviance, the group exhibition currently occupying the quirky basement space at SculptureCenter, can’t quite live up to its curatorial statement.
Cosima von Bonin’s exhibition at SculptureCenter features many splashy, maritime-themed works, but their cumulative effect lacks much depth.